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■PAELOR AMUSEMENTS 



FOR THE YOUNG FOLKS, 



CONTAINING 



Tableattx, Pantomimes, Sociai, Amusements, Jabi.et's Wax 

WoEKS, Declamations, Peivate Thkatbicaxs, Etc., 

Etc., with rtrix dieections fob peo- 

DITCINO them. 



BY 



G. B. BAETLETT. 



NEW EDITION, WITH ADDITIONS. 



Hew Torh : 

HAPPY HOURS COMPANY, 

No. 1 Chambers Street. 





^ 






Entered according to Act of Congress, in the year 1874, by 

JAMEP R. OSGOOD & CO., 
In the Office of the Librarian of Congress, at Washington. 

Entered according to Act of Congress, in the year 1876, by 

HAPPY HOURS COMPANY, 
In the OfElce of the Librarian of Congress, at Washington. 






PREFACE. 



The dramatic element exists, in a greater or less 
degree, in every mind ; for the little child begins to ima- 
gine or personate some character at a very early age. 
The doll is invested with histrionic power, and plays 
many different rdles as time goes on ; and the love of 
acting lasts after old age has dulled many other enjoy- 
ments. No pleasanter manner of whiling away a long 
evening can be found than by a simple entertainment 
in which old and young unite. The chief objection to 
such performances has been the trouble which attends 
their preparation. This little book is intended to 
obviate this difficulty, as the scenes are so arranged 
that the most of them can be performed in any parlor 
with simple properties and costumes, and most of them 
without study or practice. Every one of them, however, 
has been tried before large audiences in hundreds of 
cities, and they are now simplified and arranged for 
performance by old and young. 

In the opening chapter, proof of the long experience 
of the manager is given ; and the last ones are devoted 
to games of thought, in which new games, and old ones 
in a new dress, are presented in the hope that much 
benefit to the thinking powers may be gained, as well as 
amusement. 

3 



^. 



1 



CONTENTS. 



PAGE. 

INTRODUCTION 7 

HINTS ON TABLEAUX , 17 

SCENES IN THE LIFE OF MAKIE STUART 23 

ELABORATE TABLEAUX 25 

THE LILT MAID OF ASTOLAT 29 

JARLEY "WAX-WORKS 30 

THE BABES IN THE WOODS 35 

THE MAGIC MIRROR..... 37 

THE MISER'S SUPPER 41 

LOVE IN AMBUSH 44 

THE SLEEPING BEAUTY 46 

AULD ROBIN GRAY 50 

THE MISTLETOE BOUGH 53 

VILLIKENS AND HIS DENIAH 57 

CHARADES 61 

GAMES OF THOUGHT 67 

THE MENTAL INDEX 70 

DECLAMATION 72 

SOCIAL AMUSEMENTS 80 

PRIVATE THEATRICALS 88 

LIST OF PLATS 89 



INTRODUCTION. 



As I stood on the stage of the new opera-house, all 
ready to begin, an irresistible desire to laugh nearly- 
upset my gravity, caused by the funny con'trast between 
the entertainment I was about to superintend and my 
first dramatic performance. 

The house is crowded with the beauty arid fashion of 
the city; and the receipts, for the benefit of a noble 
charity, will exceed a thousand dollars. The stage is 
furnished with every appliance which modem art has 
brought to the aid of the drama. By a touch of the 
bell, the orchestra can be set in motion, or stopped in 
the middle of the sweetest strain. By a turn of the 
hand, the scene can be plunged into utter darkness, or 
lighted with the brilliancy of daylight ; which will flash 
into red sunrise, or fade into green moonlight, at will. 
At the sound of a whistle, angels will float from the flies, 
or demons spring through the floor. Quiet carpenters 
consult the plot, and the horizon melts into forest, and 
the palace at once becomes a kitchen. In the luxurious 
dressing-rooms, ladies and gentlemen of talent stand 
ready to lend the graces of refined culture to the attrac- 
tions of the scene. At the rise of the curtain, a large 
ship, ornamented with quaint carving, bears a graceful 
company of beautiful blondes. Groups of classic statu- 
ary, and careful copies of pictures, succeed ; and then a 
comedy is acted by amateurs, to whom the movements 

7 



6 INTRODUCTION. 

of our best society are natural, and not assumed. The 
last scene represents a dark wood by moonligbt, where 
Bohemian gypsies in rich costume glide about among the 
trees, and finally join the brilliant dance to the sound 
of ringing tambourines and clashing cymbals. 

What a contrast to the old garret in Concord, which 
witnessed our earliest dramatic efEorts ! 

An old blue bedquilt, hung on a clothes-line from the 
rude rafters, furnished our only stage adornment. 
Neptune, a great Newfoundland dog, was the only 
member of the corps who could stand erect at the 
wings ; from which he used to rush upon the stage at 
the denoument, and create considerable confusion by 
biting the ears of the dead heroes. The third mem- 
ber of the company was a boy aged six, who is now a 
prominent merchant. We played Shakspearian trage- 
dies chiefly, and took turns in personating Clifford and 
Kirtland, as the killing parts were considered the most 
desirable. Aunt Betsey, a dear old lady, composed our 
whole audience, and showed a high appreciation of the 
performance by laughing heartily at the most tragic 
scenes. Many strange events transpired between these 
two occasions, some of which I propose to relate in the 
order of their occurrence. 

After a year or two, the dramatic company, being in- 
creased by the addition of a dozen schoolboys, was 
removed from the garret to more commodious quarters 
in a large hen-house ; where large audiences of twenty 
persons crowded the auditorium on Saturday afternoon. 
Miss Edge worth's drama of " Old Poz " was here pro- 
duced with great effect ; the part of the magpie being 
taken by a large parrot, who lent a tragic element to the 
piece by biting savagely at every one who came near his 
cage. ** The Lady of the Lake " also had a most success- 
ful run, until the dying Highlander brought down the 
house by rolling over upon the back curtain, thus expos- 
ing the dressing-room, and the bare walls of the old hen- 



INTRODUCTION, 9 

house. A pair of o\<\ cavalry swords were the favorite 
properties, as they served also as goads in driving home 
the cows from their distant pasture. One of the boys, 
who delighted to march along the country lanes with 
martial tread, cutting off the heads of the mulleins, 
served gallantly in every battle of the Potomac, and 
fought his way to a major-generalship. 

This temple of the. drama was burned, like many 
another theatre; and the company took refuge in the 
Town Hall, where many ladies and gentlemen now 
well known in literature made their debut. The gifted 
authoress of " Little Women " here enacted her favor- 
orite characters. One of our leading men is now editor 
of a leading paper ; and one has made a mark with his 
pen on both sides of the Atlantic. These performances 
being often attended by persons from Boston and Cam- 
bridge, their fame spread so widely that members of 
the company made tours to distant places to assist in 
similar enterprises. Sometimes fine scenery was painted 
or hired; but in many cases the accessories were so 
simple that the talent was made more conspicuous. 

One of the best of these was given in the kitchen of 
an old farmhouse, almost the only inhabited build- 
ing on an island in the sea. The time was midnight ; 
one of the actresses a well-known novelist, and one a 
lady who had won laurels on the English stage. The 
play was wholly impromptu. There was no audience at 
all, the actors being only desirous to secure the applause 
of each other. The rough beams of the roof were 
lighted with tallow candles, and garnished with strings 
of onions and dried pumpkin. 

A banquet being called for in the second act, the 
pantry was robbed of a pan of milk; the comediaii 
foraged the hen-coop ; the eggs were beaten by the tra- 
gedian; and the effect of the repast was felt by the 
whole company for a week. 

AVhen the sanitary fairs sprung up over all the coun- 



1 INT ROD UCTION. 

try, the drama was one of the most successful means 
employed to raise money. It is impossible to ascertain 
the amount of these very large sums, as the receipts 
were added to the general fund, or applied to the pur- 
chase of material for village societies, to which the 
labor of many energetic ladies gave a threefold value. 
The old academy at North Conway was turned into a 
summer theatre, and every week the proceeds were for- 
warded to some hospital. This establishment was as 
remarkable for the talent of its company as for the 
simplicity of its decorations. Ko expense was wasted, 
as it was solely a money-making concern. One night, a 
listinguished lady from Boston failed to come on in 
time when a scene from Dickens was called ; and the 
anxious manager, hurrying into the green-room, found 
the unfortunate star fastened to the floor, and unable to 
extricate her foot from a hole in the board through 
which she had stepped. The guests at this theatre in- 
cluded two major-generals, and a portion of the presi- 
dent's family. 

In the city of Louisville, the amateur drama has been 
brought to the highest state of perfection by the 
Dickens Club, an organization which has existed for 
many years, and numbers one hundred members from 
the age of six to sixty. Old and young act with vigor 
together ; and they have become so perfect, by long prac- 
tice, that their representations are very clever. They 
use none of the stage-plays, but dramatize stories and 
poems to suit their needs. 

In an elaborate version of "The Golden Legend," 
sixty persons appeared in one group in the transforma- 
tion scene. Six ladies were fastened upon the paint 
frame, which was covered with light-blue cloth, so that 
they seemed to be floating in the air. They stood in 
their stocking-feet, as the illusion would have been 
destroyed if tlieir black boots hacf shown against the 
transparent background. One night the manager stood 



INTRODUCTION. 11 

at the back of the stage, waiting for the cue, at which to 
give the signal for opening the flats. The avenging 
angel was strapped upon the frame about six feet from 
the floor; and, when within two lines of her speech, 
8he whispered in a trembling voice, "I have my boots 
on I '* The lady lifted one foot at a time while he pulled 
ofE the boots, and stood holding them in his hand, listen- 
ing to the denunciation of the ascending angel, as the 
frame was slowly wound up by the carpenter. Another 
night, one of the upper angels became so dizzy that she 
was obliged to be taken down in a hurry, by means of a 
long ladder, just before the others were exposed to the 
view of the audience. 

A home for widows and orphans received the greater 
part of its support, for many years, from the efforts of 
this club. 

A whole chapter might be devoted to the romance of 
the drama, for many a tender scene has been repro- 
duced upon the stage of life. There is one farce in 
which those who take the lovers' parts are sure to marry. 
This has proved to be true in so many cases, that it is 
not considered best to give the name of the play, as 
the demand would be greater than the publisher could 
supply. 

At som'C of the army hospitals, the convalescents 
found amusement for themselves and their friends on 
the mimic stage. At Annapolis, a large barrack was 
converted into a theatre, where very creditable perform- 
ances were given by the soldiers, for several nights, 
to an audience of about a thousand, nearly every one of 
whom were cripples. As this array of wounded heroes 
were drawn up in line, ready to march into the building, 
one brilliant moonlight night, the sight was very affect- 
ing, and made one feel grateful for any amusement which 
could vary the monotony of their tedious existence. At 
Washington, a performance was given for the Christian 
Commission, which was participated in by young ladies 



12 INTRODUCTION. 

from nearly every part of the Union, the wives and 
daughters of the senators and representatives from the 
various States. The grace and beauty of two stars of 
this stage have won laurels in the most brilliant court 
of Europe. 

This taste for the drama exists in the minds of 
many sedate persons, and often appears most un 
cxpectedly at the summer-resofts, where the cares of 
business are forgotten, and the hard-working students 
and merchants delight to renew their youth in some 
careless and merry frolic. 

Two great merchants once appeared as the Babes in 
the Wood, dressed in short costumes like boys and girls, 
while a noted lawyer and preacher represented the 
robins. Adorned with red shawls and feather-dusters, 
these frisky birds covered the sleeping innocents with 
cabbage-leaves. 

A dramatic performance was once given above the 
clouds, on Mount Mansfield, by a party from Cambridge 
and its vicinity. That night, the excellent hotel was 
crowded with guests, among whom was the S/ige of 
Concord, the editor of a large journal, two professors, 
and a prominent lawyer, with ladies from a dozen States. 
When the sun had set, and the heavy clouds gathered 
beneath the mountain-top, this motley audience assem- 
bled in the long, uncarpeted room, and seated them- 
selves on wooden benches around a bright fire. The 
performance was of the most primitive character, the 
wardrobe being selected from the mountain-dresses 
which hung upon the wall, and the weapons from the 
kitchen-closet ; but the rounds of applause, and shouts 
of laughter, which shook the rough beams, testified to 
the delight of the spectators. At the foot of Mount 
Mansfield, in the town of Stowe, is one of the most 
beautiful little private theatres in the country. The act- 
drop and scenery are painted with great nicety ; and the 
machinery is so perfect that the stage can be darkened at 






INTRODUCTION. 13 

once. Among the hundreds of people who visit thig 
popular resort, amateurs of talent are easily found ; and 
difficult comedies are performed in a style which many 
more pretentious establishments might do well to copy. 
One little star of this mountain theatre has since figured 
in the salons of Paris; and many persons, now scattered 
over the United States, will remember her fascinating 
personations of difficult roles. An original comedy w.as 
produced here, being a dramatization of Curtis' s "Poti- 
phar Papers," arranged by a gentleman from Troy. A 
young lawyer was summoned by telegraph from Bos- 
ton to act the 'part of the fop; and the professor of a 
New- York university played Cream Cheese in a most 
oleaginous manner. Seven changes of scenery gave 
effect to this play, the drawing-room, in the first act, 
being very handsomely furnished. The audience at this 
performance came in full dress ; and the auditorium was 
lighted by two large chandeliers with pendants of cut 
tin, which flashed in quite a magnificent manner. 

A laughable occurrence took place during the per- 
foimance of a farce at this theatre. A young gentlepian 
was playing the part of a lady, dressed in a blonde wig, 
and a showy silk dress. The lover, being also of a light 
complexion, wore a dark wig, and had blackened his 
moustache to match. Regardless of this fact, he im- 
printed a chaste kiss upon the lips of his beloved, and 
left a large black circle as the result of his caress. 
Wlien the summer visitors at the mountains returned to 
their distant homes, the fame of these performances was 
so widely scattered that the manager was sent for to many 
a distant city, to reproduce them for the benefit of char- 
itable purposes throughout the United States. Week 
after week, performances have been given with generally 
very good success. The most curious fact gleaned 
from this long experience is the strange likeness which 
is found in the various faces, so that pictures can be 
presented in hundreds of cities in a veiy similar manner. 



14 INTRODUCTION. 

The sanne ideas also re-appear constantly; as, among 
the properties used, is a large harp, which is carried 
from place to place, and has never been seen in any 
collection of people without inspiring some allusion to 
the "harp of a thousand strings." 

The mimic drama also brings out the dispositions of 
people so strongly that it has been said, " If you wish to 
know the dispositions of your friend, either marry or 
unite in a dramatic enterprise with her." It is hoped 
that this satirical remark can never apply to the actors 
in these scenes. The chief cause of difficulty is the 
want of organization ; and therefore the first step is, to 
find some competent manager to assign the parts, and 
direct the performance. He will soon leam that the 
only way to govern others is to completely govern him- 
self ; and the actors will gain a useful lesson of prompt 
and cheerful compliance with the decisions of others, 
which will be of benefit to them on the stage of life. 
In all of these entertainments, great opportunity is given 
for the inventive faculties. A little wit is often better 
than much expense, and the simplest designs are often 
the most effective ; in proof of which I give an account 
of an entertainment which was hastily prepared on an 
island where there were but two houses, and no stores. 
The island lies three miles west of Plymouth Rock, and 
is owned by a kind and genial gentleman who is ad- 
mired by so many ladies, that he has always remained 
single for their sakes. 

At the time I speak of, there was a very brilliant com- 
pany assembled at his house, many of whom are well 
known to the readers of " Our Young Folks." The 
blue-eyed Miselle, who has written stories almost as fas- 
cinating as herself, the author of the " Seven Little 
Sisters," and, first and best of all, the mother of "Wil- 
liam Henry," all united with many lesser lights to make 
the summer days pass pleasantly. 

One day, as they all sat in the rusti,c summer-house on 



p 



INTRODUCTION. * 15 

the point, watching the sail-boat, on her return trip from 
Plymouth, laden with passengers and provisions, they 
beheld a new arrival in the shape of the manager ; and, 
as soon as he had scrambled up the rocky path from the 
shore, they set him to work at once, under the island 
law, which provides that each one shall contribute his 
share for the entertainment of the others. So that 
afternoon he assembled his forces upon a great rock, and 
considered the subject. He found j)lenty of the first 
two requisites for success, — beauty and brains; one 
stately brunette for the tragic parts, two lovely blondes 
for angels and saints, and half a dozen young ladies of 
the medium style of. beauty which abounds in New 
England. For gentlemen, there were two Harvard stu- 
dents, a gallant young soldier, a grave judge from the 
West for the heavy father, beside three noble young 
fishermen for the tableaux. The cast was soon made, 
and the actors retired to study their parts ; when a new 
diflSculty arose. Where can a theatre be found ? The 
kitchen and dining-room are in constant use, and all the 
other rooms are full to overflowing. 

An exploring party then made the circuit of the 
island, and discovered a large boat-house close to the 
eastern shore. Here a stage was erected upon four 
lobster-cages ; and a curtain, " borrowed from one of the 
beds," was contrived to run upon grummets, or small 
hoops which are used to confine the sails to the mast of 
a boat. 

For the illustrated ballad, "The Three Fishers" was 
decided upon, as there were three men ready costumed 
for the parts, and plenty of nets and lobster-pots for 
properties. The angels took to themselves wings by 
making frames from one of those melancholy ruins of 
modem civilization, — an old hoop-skirt. These frames 
were covered with cotton cloth, and coated with var- 
nish from the stores of the boat-house. While the 



16 INTRODUCTION. 

varuisli was fresh, they were plentifully sprinkled with 
live-geese feathers; and the effect was truly angelic. 
*' Judith and Holof ernes " was one of the tableaux. In 
the first scene, a black-bearded youth reposed upon two 
dressing-tables, while his sister flourished the captain's 
sword above his head. In the second scene, where 
Judith holds the head, Holofemes knelt between the two 
tables, and put up his head through a hole in the sheet. 
To give reality to this scene, it was necessary to have 
the sheet spMnkled with blood: so the manager de- 
manded some pieces of red flannel to sew upon it. 
Kone could be found, however, without robbing the 
only shirt which was to go on in several of the scenes ; 
so a party set off around the island on a wild search for 
blood ! They soon returned, bringing in triumph some 
scarlet poppies, the leaves of which served the purpose 
so well that the dead head was pronounced very lifelike 
indeed. Next, a wig must be found for the judge to 
wear as King Lear ; and a very wild one was made of 
the pelt of an old sheep, which produced a very strong 
effect upon both audience and wearer. The vista for 
the tableaux was made of dark-gray shawls; but the 
play was a vaudeville, and demanded a garden-scene. 
So the rough beams were dressed with graceful vines, and 
arches made of clematis, lighted up with gleaming sumac, 
and coral cornel-berries; and, when the shawls were 
taken down after the tableaux were over, the effect was 
very fine. Just as the play began, the manager threw open 
the great doors at the end of the boat-house. The tide 
was high, and the sea came up close to the building, 
and the great round August moon began to rise slowly 
out of the water; and all agreed that no finer back- 
ground could have been seen in any theatre. So jou 
see that in the mimic stage, as well as on the stage of 
life, it is well to make the best of your surround- 
ings. 



HINTS ON TABLEAUX. 



I PEOPOSE to give a fe^v plain directions by which 
effective scenes can be arranged in any room with but 
• little trouble or expense. 

You will need ten boxes of various sizes, two half- 
length picture-frames, one wash tub and board, one 
broom, twenty feet annealed wire, two dozen curtain- 
rings, twelve large lamps or twenty candles, or a gas-rod 
twelve feet long with fifteen five-foot burners upon it, 
six yards black tarlatan-muslin, costing fifty cents per 
yard, and five cotton sheets. 

If the room has no folding-doors, you must have a 
thick curtain or bedquilt contrived to draw on a wire 
across the room at one end, leaving a space about fifteen 
feet deep for the stage. This space must be draped 
with shawls or curtains by stretching wire across the 
sides and back of the stage near the ceiling, and hanging 
them by means of rings fiimly sewed upon the cloth. 
You will thus have a square room draped all around, 
except in front. Then procure four upright pieces o£ 
narrow board, just the height of the room, for posts ; 
screw them upon the back-sides of the frames near the 
edge, so that when you raise them up the frames will 
stand upright four feet and a half from the floor. 
Cover all the space above and bejow the frames with 
cloth of the same color as the back wall, so they wiU 
2 17 



.li 



18 PARLOR AMUSEMENTS 

appear to tlie audience as if they were hanging upon the 
wall. Put up these frames four feet apart; and nail 
four strips of board five inches wide, in the shape of a 
large frame, between them, having the top and bottom 
strips which form the frame six feet and a half apart ; 
which when completed will give you a large frame be- 
tween the two smaller ones. This large frame will be 
four feet wide, and six and a half high, outside. A cur- 
tain must be arranged to run in front of the frames in 
order to cover them when not in use. 

These three frames stand at the back of the stage 
(the supporting-posts nailed to the floor) two feet and a 
half from the wall, so as to give room for the per- 
formers behind them. 

If gas is available, fasten a rod, with burners upon it, 
over the top of the curtain or folding-doors. The best 
way is to make for it a shelf supported upon two posts 
about eight feet high. Over the burners, and behind 
them, tack sheets of common tin, bent so as to throw 
the light down. If you cannot get the tin conveniently, 
fasten behind the burners a white sheet, which will 
serve the purpose very well. If the curtain does not 
come to the ceiling, you must put a shawl or thick cloth 
above it, so that the light cannot show much over the 
curtain into the darkened room where the audience sit. 
When gas cannot be had, fasten the candles upon the 
shelf. If kerosene-lamps are used, holes must b< 
made in the board to fasten them firmly in their places. 
In a very elaborate performance, the stage should be 
raised to a level with the eyes of the spectators ; but 
I have had many very fine performances in a parlor 
where we did not begin work until two hours before the 
curtain rose. * 

Next make a veil of black tarlatan-nmslin large 
enough to cover the space before the folding-doors o/ 
posts which support your curtain. 

In the programme I am to give you this month, I sliaU 



FOR THE YOUNG FOLKS. 19 

introduce only such costumes and appointments as can 
readily be obtained in any house. We will begin with a 
group of statuary, as this requires more time for prepa- 
tion than other scenes. Here is a very simple one : 
"Justice, Mercy, and Peace." 

Justice stands on a high pedestal made of two boot- 
boxes covered with a sheet; Peace on one box; and 
Mercy kneels on two boxes placed end to end so as to 
make a long pedestal. They are draped in sheets. 
Peace must be taken by a child dressed in a short frock 
of white cotton belted around the waist. Justice must 
be a larger lady than Mercy. Mercy kneels in atti- 
tude of prayer, with clasped hands ; Justice stands erect, 
holding a sword and scales covered with white cloth, 
and having a bandage over her eyes ; Peace stands on 
the right of Justice, holding a stalk of paper lilies in 
her right hand. The faces must be whitened with hly- 
white rubbed on dry. 

In all statues, the hands which are shown are covered 
with white cotton gloves, the arms with stocking-legs 
sewed to the gloves, and the heads with fp^igs made of 
lamp-wicking. Eemember to turn down your gas, or to 
draw a strip of green cambric before your kerosene- 
lamps ; and, if your statues stand still, the effect is won- 
derful. When the audience have seen enough of the 
statues, lower your curtain, or shut folding-doors. The 
assistants rapidly clear the stage, draw away the curtain 
which hides the picture, and in one minute the audi- 
ence behold, to their astonishment, a set of tableaux ; 
in one frame, *' Milton at the Age of Ten," by a girl with 
a round face, and light, wavy hair falling upon her shoul- 
ders in front, flat-top cap, pointed paper collar, velvet 
basque ; in the other, " The Pride of the Market," a dark- 
haired young lady, rustic hat, white waist, bodice cut 
out of red flannel ; she holds on her left arm a basket of 
apples, and in her right hand the largest apple of all. 
In the centre or large frame we will have '*^Lear and Cor- 



20 PARLOR AMUSEMENTS 

delia. Lear sits proudly on a soap-box, Cordelia has her 
left arm over his shoulder. Throw light from the left side 
with a common reflector. Turn the light on at top, and 
the pictures look as if they were painted. 

Next we must have a comic scene, "Love's Dis- 
guises." 

A pretty girl in calico is washing at a tub at the right 
side of the stage; a fop is looking at her through an 
enormous eye-glass; he is dressed showily, with white 
hat and cane. In the next scene, the maiden is sitting 
on a chair in the centre, and a cunning little Cupid aims 
his great tin bow at the fop from the wash-tub. 

In the mean time, the active assistant has filled the 
frames again ; and without delay the audience behold 
"Catawba," "Little Nell and her Grandfather," and 
"Little Bo-Peep." 

Catawba holds a glass half full of vinegar ; light flow- 
ing hair, white dress, with grape-leaves. Bo-Peep, high 
sugar-loaf hat made of red paper, calico dress tucked 
over red petticoat ; holds a crooked cane. Nell, calico 
dress, broad hat. Grandfather leans on her shoulder, 
cane in right hand. 

And then "The Eoman Girls at the Shrine of St. 
Agnes." 

The saint, in white, stands in the large frame ; before 
her on the stage two boxes covered with a sheet form 
the shrine, on which stands a cross, made of unpainted 
wood, two feet and a half high. One dark Eoman girl 
holds a wreath of flowers over one arm of the cross ; 
another kneels at the other side, passing to her a 
basket of flowers ; a third loieels in prayer at front of 
stage, telling her beads ; a fourth stands in the comer of 
the stage at back, holding a sheaf of straw. Dress, — 
black, brown, or red skirts ; black bretelles over white 
waists; long, white towels on heads, folded three times 
the longest way, and placed flat upon the head leaving 
the rest to hang down behind. Concealed singers sing 
" Ave Sanctissima." 



FOR THE YOUNG FOLKS. 21 

By this time, the audience will be ready for something 
to laugh at: so we will have '* Ignorance is Bliss: a 
French Peasant Scene." 

At the left of the stage, an old lady is asleep in a high 
chair. She is dressed in black, or in any plain dress : 
wears a white apron, and has a white shawl folded 
across her shoulders; also a high cap and spectacles, 
which have fallen upon her nose. At the right, a girl 
sits at the spinning-wheel. She has on a bright short 
skirt, white waist, red or black bodice ; on her head a 
cap of lace gathered in a rosette with very long ribbons 
streaming from it ; on her arms she has three ribbons, 
one at two inches above the wrist, the next below the 
elbow, the third near the shoulder. A youth is kneel- 
ing at her feet, holding her left hand. She looks archly 
at him, regardless of the unconscious grandmother. 
The youth has ribbons upon his arms like the girl ; he 
i has no coat on, but bright suspenders joined in front 

with two bars. In the second scene, the lovers remain as 
before, except that the grandmother has wakened, and is 
just raising her broom with the intention of waking the 
young man also. In the third scene, the grandmother 
holds the lovers apart at arm's-length by grasping one 
ear of each. The girl is crying at the left ,side, and the 
youth at the right of grandmother looks sheepishly 
down, with his finger in his mouth. Next draw away 
the back curtain again, and show more pictures which 
the assistant has had time enough to prepare. 

In the centre frame stands "A Gleaner." In one 
small frame, a child with a red cape over her head, and 
a little basket in her hand, personates "Ked Eiding- 
hood ; " and in the other, " A Marchioness." ^ 

Next "The Angels' Whisper." In a cot-bed, two lit- 
tle children are sleeping. One angel lifts the quilt at 
the right corner of the bed ; at the head, another angel, 
with clasped hands, is smiling upon the sleeping babies ; 
behind the bed, in the centre of the stage, upon a box, 



22 PARLOR AMUSEMENTS. 

stands a tliird angel with hands extended in blessing \ 
the fourth angel kneels in prayer at the foot of the 
bed. In the second scene, the little child who lay in 
front of the bed is kneeling; the highest angel places 
her left hand upon the child's shoulder, and points 
up with the right. The other angels turn and look in 
the same direction. The children are dressed in night- 
gowns, the angels in white muslin; their wings are 
made of a wire frame four feet long, in rough imitation of 
the shape of a bird's wing, and are covered with coarse 
muslin ; the two wings are fastened together by a band 
of tin five inches long, pierced with holes for the elastic 
which confines them to the shoulders. 



SCENES IN THE LIFE OP MARIE STUAET. 



SCENE I. 

TJie Bival Queens. Queen Elizabeth dressed in trained 
silk dress with high ruff, stands e. pointing to Marie 
Stuart, who holds up her left hand as if deprecating the 
wrath of her cruel cousin. Marie Stuart wears black 
dress trimmed with white wax beads, a square head- 
dress of black. Pictures of these costumes may be found 
in any history of England. 

SCENE II. 

Signing the Death-Warrant. Queen Elizabeth sits at 
the right of a table, which stands in centre of stage, 
surrounded by her ladies - of honor, who are dressed in 
similar costume to her own. A large man stands be- 
? hind the table, as if urging her to sign the warrant, 

which she seems unwilling to do. 

SCENE ni. 

I The Execution of Marie Stuart. The queen kneels 

' beside the block, which occupies the' centre of the stage. 

She is engaged in prayer, and holds a small cross. ' She 
is attended by two gentlemen and three ladies in mourn- 
ing. A priest at left corner of the stage lifts up his 
hand as if exhorting her to a change of religion. The 
executioner, dressed in red, stands by the block, leaning 
on a long axe. The block is covered with black clotb- 

23 



24 



PA RL OR A M USEMENTS. 



SCENE IV. 



In the next scene, the queen has laid her head upon 
the block, and the executioner stands with uplifted axe. 
One of the ladies laieels at the right, and another has 
fallen into the arms of the third as if she had fainted. 



We give the above as a specimen of historical tab- 
leaux, which will prove very useful to children in fixing 
in their minds the sradies tney are pursuing, as they can 
form hundreds of scenes in illustration of them. 



ELABORATE TABLEAUX. 



The stage for elaborate tableaux must be raised to a 
level with the eyes of the spectators. The frames must 
be gilded, and the curtains made of very dark purple 
cambric, with the dull side towards the stage. A large 
frame must also be made in front of the drop-curtain 
nine feet high, and from eighteen to twenty-five feet 
wide, according to the width of the hall. 

The gas-rod must contain twenty-six five-foot burners, 
and be placed over the curtain inside, eight feet and a 
half from the floor of the stage. These burners must 
be fed from an upright pipe at the left side. Upon this 
pipe, two powerful argand-burners must be fastened, five 
feet from the floor, each provided with a swinging arm, 
one of them with a green globe and chimney, and the 
other with a red. Behind each globe a large concave re- 
flector is to be held. By this simple contrivance, colored 
light can be thrown to any part of the stage. 

For statuary, or moonlight scenes, turn the upper light 
nearly out, and throw green on. For sunrise, begin 
as above, then gradually turn on the upper light, and 
place the reflector behind the red globe. For the pictures, 
take off the red globe, and substitute a common white 
chimney, and throw the light upon the faces of the i)er- 
formers in the frames. For the arrangement of tJio 
frames and curtains, you can refer to the previous 






26 PARLOR AMUSEMENTS 

chapter; but it will be best to have your curtain roll 
up in the manner of a common window-curtain. 

Outside of the large front frame, you need another 
gas-rod with ten footlights, which must be turned down 
for the pictures and still scenes. They will be useful to 
light the front part of the stage during the pantomime 
and illustrated ballads. 

To make a boat, which will be needed for many scenes, 
lay two boards upon the floor so that they will fit to- 
gether very closely at the edge ; the dimensions should 
be about fourteen feet in length, fifteen inches in width, 
and half an inch in thickness. Planed white-wood, 
or clear pine boards, are the most suitable. Screw three 
cleats firmly upon these flat boards, one near each end, 
and one at the centre. Turn the whole over, and you 
have a fl-at surface fourteen feet in length and two and 
a half in width. Draw upon one end the profile of the 
bow of a boat, and upon the other the stern. Saw 
the ends carefully, following your drawing. Paint the 
whole of a light chrome-yellow. Shave the upper edge 
into a slight curve, beginning eight inches from the bow, 
and descending to the middle, then ascending to within 
twenty-five inches of the stern. Then paint a black 
stripe, three-fourths of an inch wide, six inches below 
the upper edge, following as nearly as possible the 
curve ; and, six inches apart, two more stripes below it. 
Next shade the bow in black, also following the curve 
from the upper edge to a distance of two feet from the 
lower edge. Saw out a figure-head and rudder to fasten 
upon the ends by screws. Stretch a strip of blue cam- 
bric, eight inches wide, across the front of the stage, hav- 
ing three wavy lines of white painted upon it for water. 
The boat is held up by the persons who sit behind it on 
boxes ; the sail is made of a sheet tacked upon a mast, 
which is held by a boy. 

As a specimen of a boat scene, I will describe to you 
" Cleopatra going to meet Mark Antony." For this, you 



FOR THE YOUNG FOLKS. 27 

will need a board, five feet long, raised to the height of 
the boat, upon two boxes ; one soap-box, on which the 
rower sits ; an oar five feet long; a narrow mattress, and 
three pillows, to form the couch ; a high box at the bow, 
for Fame to stand upon ; a trumpet, and bow and arrow, 
made of tin ; two high stools ; a canopy made of a scarf ; 
a silver waiter with wine ; and a guitar ; one large, hand- 
some lady, with long black hair, for Cleopatra; five ladies 
as attendants; one little child as Cupid; and one tall 
lady with very long light hair, as Fame, dressed in plain 
white drapery. Cleopatra wears a loose white waist 
richly trimmed with gold-paper ; a cloth of gold covers 
her ; and long chains hang from her crown, and extend 
from her dress to the bracelets upon her arms. The 
attendants wear loose waists of red, black, and yellow ; 
their skirts are concealed by the boat. All should 
wear gold chains and ornaments, which can be made of 
gold-paper. Another cloth is needed to cover the pil- 
lows, which is made by cutting gold-paper into fancy 
I figures, and sewing it upon lace. 

Cleopatra reclines upon the mattress and pillows, which 
are placed upon the board platform, near the stern of 
the boat. One attendant holds the helm;- two others 
hold the canopy above her head ; a fourth is passing the 
wine; and a fifth sits at the oar. The Cupid stands 
upon a high stool near the centre. Fame is upon a 
box at the bow, holding a trumpet; and the sixth at- 
tendant, with the guitar, stands upon a high stool near 
the centre. Show this scene first in strong light, and 
next by moonlight and sunrise, as explained above. 

"The Triumph of Ceres" is another very beautiful 
scene, in which the same arrangement of boat and furni- 
ture is used. Ceres stands in the centre, surrounded by 
the seasons : Spring, a little girl in white, holding a lily ; 
Summer, a lovely blonde, reclining, covered with flowers ; 
Autumn, a brunette, in brown dress covered with autumn- 
leaves, holding on her head a basket of fruit ; Winter, 



I 



2S ,PARLOR AMUSEMENTS. 

an old man with cloak and hat covered with cotton 
snow. Old Father Time, with a large scythe, stands at 
the stern ; and a lovely young lady, in the attitude of sow- 
ing seeds, bends forward at the bow. Ceres holds a sickle 
in her right hand, and a sheaf of grain in her left; she 
^wears a loose white robe, and a wreath of poppies and 
grain. 




THE LILY MAIl) OF ASTOLAT. 



In this scene, a beautiful blonde lies in the boat with 
her feet toward the bow ; her hair hangs over the pillow, 
which is richly trimmed with gold paper. She is dressed 
in white muslin ; a red cloth covered wiflh gilt paper is 
drawn to her waist. She holds a letter in her left, and 
an open letter in her right. A very old man, with flow- 
ing white hair and beard, leans upon an oar at the stern. 
While this scene is shown, it is well to have a selection 
read aloud from Tennyson's " Elaine," in which a full 
description of it can be found. 

A series of tableaux accompanied with readings can 
be made from the " Courtship of Miles Standish," the 
most common of which are, the offer to Priscilla made 
for Standish by John Alden, and the wedding ceremony. 
Sometimes the whole poem is read and illustrated. 
Longfellow's "Evangeline" has been superbly per- 
formed in the same manner, and is full of exquisite 
tableaux to which the reading gives new life. 

29 



r 



JABLEY WAX-WOEKS. 



CHARACTERS. 



Mrs. Jabley. — Blach or figured dress, red shawl, huge bonnet. 

Little Nell. — White or calico dress, hat over arm, long stick, 

Chinesb Glajtt. — Curtain of Turkey-red or patch, tied round 
the waist, long enough to reach to the ground when he stands 
upon a high stool; patch quilt, or curtain, folded over shoul- 
ders, shawl fashion; bright lamp-shade on his head, long 
cue of braided list. 

DwABF. — Kneeling child with large shoes to show in front of 
dress, white liair of tow or wicking ; dark dress, cap, b<ywl, 
and spoon. 

Mabtha Bangs. — Black dress, sheet throvm carelessly over, 
black hair flawing, left hand up to forehead, pickle-jar in 
rigJit hand. 

Mrs. "WrsrsLOW. — Dark dress, ruffled cap, white apron, bottle of 
soothing-sirup in right hand, rag-baby or large doll in Iqft 
hand. 

Mermaid. — White dress, green skirt, mostly concealed behind 
Giant; long, light, flowing locks, luxnd-glass and comb in 
hand^i. 

The Boy that stood ox the BuRXixa Deck. — Fireman's 
shirt and trumpet; clothes on hind side before. 

Captain Kidd. — Bed shirt, straw or military hat, pistol, and 
sword. 

His Victim. — White dress, red cape, flowing hair. 

Lord Byron. — Black cloak, broad white collar. 

Bluebeard. — Red dressing-goion, loose white pantaloons, tur- 
ban, large key. 

Siamese Twins.— Two men or boys, different sizes, Joined by a 
white roll of paper. 
30 




PARLOR AMUSEMENTS. 31 

Mrs. Jarley sits at right of stage by a great drum, or 
table, and Nell is dusting and arranging the figures aa 
the curtain rises. 

Mrs. Jarley describes the figures as they are pointed 
out by ISTell : — 

The Chinese Giant. — This figure is universally 
allowed to be the tallest figure in my collection. lie 
originated in the two provinces of Oolong and Shang- 
high, one province not being long enough to produce 
him. On account of his extreme length, it is impossi- 
ble to give any adequate idea of him in one entertain- 
ment : consequently he will be continued in our next. 

The Celebeated Welsh Dwakf. — This wonder- 
ful child has created some interest in the medical and 
scientific world, from the fact that he was thirteen years 
old when he was born, and kept on growing older and 
older, until he died at the somewhat advanced age of two 
hundred and ninety-seven, in consequence of eating too 
freely of pies and cakes, his favorite food. 

Martha Bangs, the miserable maniac who poisoned 
fourteen families by giving them pickled walnuts, and 
then wandered about from house to house observing the 
effect of the pestiferous pickles. She holds in her right 
hand the fatal jar, which has plunged so many happy 
families into the deepest despair ; you will observe also 
the wild confusion of ideas expressed by her raving 
locks. It is of this classic figure that the poet Burns 
speaks in his comic poem of " Casablanca." To use the 
words of the lamented John Phoenix, " Face white as 
the driven snow, hair black as the driven charcoal." 

The children's friend, the parent's assistant, the moth- 
er's hope, Mrs. S. A. Winslow, a nurse of thirty year's 
standing. She holds in her hand a bottle of that won- 
derful sirup which has soothed the sorrows of so many 
suffering sisters. I cannot do better justice to this 
remarkable fluid, than by quoting a few stanzas from 
the celebrated comic poet Ossian in his great melodra* 



32 PARLOR AMUSEMENTS 

raatic poem of " Marmion: " " Soothing-sirup adds new 
lustre to the cheek of beauty, smooths the wrinkles 
from the furrowed brow of age, and is also excellent for 
chilblains." 

The celebrated Feejee Mermaid, combining, as you 
well know, the principal properties of a beautiful 
woman joined to those of a lovely fish. 

This Boy, ladies and gentlemen, had the extreme fool- 
ishness to stand upon the burning deck. Turning to 
look in the direction "whence" Albut "he had fled," 
his head became completely turned, so that he was 
picked up insensible from among the burning embers ; 
and his face has been firmly fixed the wrong way ever 
since. 

Captain Kidd, the robber of the main, supposed to 
have originated somewhere Down East. His whole life 
being spent upon the stormy deep, he amassed an 
immense fortune, and buried it in the sand along the 
flower-clad banks of Cape Cod, by which course he 
invented the savings banks, now so common along 
shore. Having hidden away so much property, which, 
like many modern investments, never can be unearthed, 
he was known as a great sea-cretur. 

Before him kneels his lovely and innocent victim, the 
Lady Blousabella Infantina, who was several 
times taken and murdered by the bloodthirsty tyrant, 
v/hicli accounts for the calm look of resignation depicted 
upon her lovely countenance. 

Bluebeard, the well-known philanthropist, the lov- 
ing father and tender husband. — But little is known of 
the early history of this celebrated personage except that 
his name was Nathan Beard, and he kept a seminary for 
young ladies at Walpole, Mass., where he endeavored 
to instil into the female mind those qualities in which 
they are so painfully deficient, — curiosity, and love of 
approbation. Failing, of course, in this, he became so 
l)lue and low-spirited, that he was known by the nick 




FOR THE YOUNG FOLKS. -33 

name of Bluebeard, which title he bore until his death, 
which occurred during the latter portion of his life. In 
his hand he holds the instrument which he used through- 
out his long and successful career: it will be at once 
recognized by every true scholar as the "Key to Col- 
burn's Arithmetic," Part Third. 

The Siamese Twins. — These remarkable brothers 
lived together in the greatest^ harmony, — indeed, were 
never seen apart in their lives, although there was 
always a bone of contention between them. One of 
them was born in the island of Borneo, the other on the 
southern extremity of Cape Ann. 

To an audience of such cultivation and taste as the 
one before me, it is superfluous to describe this figure. 
H It is easily recognized by you all as Laed Beebon, as 
he appeared when composing his celebrated novel of 
" The Coarse Hair," which holds an equal rank with the 
following popular works: "What's on the Mind," 
" Locke on the Understanding," and " The Pleasures" of 
Imagination " by Akin Side. 

This usually concludes my exhibition ; but I shall now 
proceed to do what I seldom do. I shall wind up my 
figures. These are all fitted with clockworks inside, so 
that when they are wound up they will go through the 
exact motions they would have done had they been 
alive. In fact, many people have supposed them to be 
alive, they look so very natural ; but I assure you they 
are all made of wood and wax, blockheads every one. 

Nell winds each one up with a watchman's rattle. 
When wound up, the Giant bows low, then wags his 
head three times, and bows again as before ; the Dwarf 
eats; Martha Bangs lifts her bottle, and tears her hair; 
Mrs. Winslow trots baby, and gives it soothing-sirup; 
Mermaid turns her head, and combs her hair, looking in 
hand-glass ; the Boy slowly revolves ; Captain Kidd lifts 
his sword over his victim, who raises her hands, and 
3 



34 PARLOR AMUSEMENTS. 

groans ; Lord Byron rolls his eyes, and writes in a book ; 
Bluebeard raises bis key, and turns his head ; Siamese 
Twins b«gin to fight. 

All move very slowly and stiffly at first, then go faster 
and faster, when at a signal the clockwork runs down, 
and they stop. 



THE BABES IN THE WOODS. 



CHAEACTEES AND COSTUMES. 

The Cruel Uncle. — Dressing-gown, hair powdered with flour, 
high hat, cane, and spectacles. 

iTwo very large boys, one dressed in short jacket and 
pantaloons, the other in a short dress, bonnet, and 
apron. 
The RuFFLAjf s. — Two very small boys with beards marked on 
their faces with burnt cork, paper hats, carving-knives in sashes 
tied about their waists. 
The Robins. — Two very tall boys, with tin tunnels, or rolls of 
brown paper, fastened over tJieir mouths and noses, red shawls 
tied from their necks to their knees, and feather brusJies fastened 
upon their backs. 
The Sun and the Moon. — Two hoops, one covered with a red, 
and one with a green cloth. They are raised and lowered by a 
boy concealed behind a table which stands in the east comer of 
tJie room, and is covered by a waterproof-cloak. 

SCENE I. 

The Babes come tripping in, hand in hand : they bow 
to the audience, and begin a game of marbles. The 
Cruel Uncle enters, and orders them to bed ; he points to 
the sun, which slowly sets behind the table. They run 
across the stage different ways; he limps after them, 
catches the Boy, and drags him after the Girl. Just as 
he seizes her, the Boy falls, and the old man trips over 
him. He rises, shakes them both, and drags them away 
after him. The Uncle returns, and paces the stage in 

35 



, 



36 PARLOR AMUSEMENTS. 

wratli. A knock is heard at tlie door ; the lluffians enter 
very cautiously ; the Uncle pantomimes to them that he 
wishes them to kill the children. They hold out their 
hands, and demand money; he goes out for a large bag, 
and gives them some. They ask for more ; he shakes 
his head, but finally gives it to them. They brandish 
their knifes, and go out. 

SCENE II. 

The Uncle leads out the Babes, one by each hand ; 
they pick flowers, and gambol on the grass, and he steals 
away, and leaves them. The Ruffians rush in, and 
attack the Babes, The Boy gallantly defends his sister ; 
one RuflBan is moved to tears at the sight, and attacks 
the other, and after a terrific combat chases him out of 
the room. The moon rises slowly; and the children 
wander about until the Girl sits down, and expresses her 
hunger by pointing to her mouth. The Boy rushes off 
for food ; returns, and finds his sister stretched out upon 
the ground ; he cries, rubbing his eyes, and shaking the 
tears from his fingers. He tries in vain to restore her, 
and finally drops down by her side; the moon sinks 
down also. 

SCENE III. 

The sun slowly rises. The children are stretched out 
upon the ground. A chirp is heard ; the Robins come 
hopping in, one behind the other ; they hop a few times, 
then stop suddenly, chirp, and hop again. They dis- 
cover the Babes ; hop over them, and go out. They soon 
return, each with a large cabbage-leaf which they 
drop upon them, and go and come until they have cov- 
ered the Babes, when they hop over them three times. 
The Uncle enters with the Ruffians, the first of whom 
draws out a small handkerchief, the second a larger one, 
and the Uncle a very large one. All wipe their eyes. 
The Babes then rise; all join hands, bow, and march 
out in single file, the Robins last. 



F 




THE MAGIC MIEEOB. 



This beautiful scene is intended to illustrate an old 
legend, which should be related to the audience in ad- 
vance. A great prince once lost his beloved bride, who 
was stolen by the fairies. In despair he applied to a 
famous magician, who, for a handsome reward, agreed to 
show hini a vision of his lost love. For this purpose, he 
conjured up in turn many pictures of fair women, each 
one of which served only to increase the disappointment 
of the unhappy lover, until at last his enraptured eyes 
beheld the likeness of the lost lady in full bridal costume. 
Overcome with joy, the prince fell upon his knees before 
the portrait, which seemed to look lovingly upon him. 
The magician waved his wand, and the picture seemed 
to start from the canvas and slowly become a living 
reality. She extended her arms to the happy prince, and 
they were united, never again to be parted. 

This scene can be produced in any room by using 
the frame described in previous chapter, but if it is 
desirable to prepare it hastily, place tables close against 
the back wall, to make a platform across the end of 
the romn. Next procure two strips of wood, of a length 
just equal to the height of the room, and not over one 
inch thick and five inches wide. Lay them upon the 
floor, and fasten a large portrait-frame on them with 
screws, in such a manner that, when raised, the lower 
edge of the frame will be level with the top of the plat- 

37 



38 PARLOR AMUSEMENTS 

form. This frame should be seven feet in height and 
five feet wide ; it can be made of pine boards five inches 
wide and half an inch thick, and covered with gilt paper 
or yellow paint, in case a real frame cannot be procured. 
Fasten these strips upright in the centre of the room, 
close in front of the platform, and drape all the space 
around it with dark shawls extending to the walls, the 
floor, and the ceiling. Hang a dark shawl behind the 
frame upon the wall for a background. 

The magician occupies the right side of the stage and 
the prince the left, each standing upon the floor in such 
a position that he can look upon the frame without 
turning the back upon the audience. The frame is, of 
course, between them, in the centre, and about two feet 
from the floor. The girls who are to appear as visions 
stand upon the platform, on the right of the frame, con- 
cealed by the drapery. The first one glides slowly across 
the frame from right to left, as slowly as possible, and 
with. an almost imperceptible motion of the body. When 
she reaches the centre of the frame, she turns very 
slowly, and looks upon the prince, who makes a gesture 
of disappointment; upon which she turns toward the 
left again, and disappears, gliding upon the platform 
behind the drapery at the left of the frame. As soon as 
she has disappeared, the second follows, and all proceed 
In turn in the same manner. The magician waves his 
hand as each one passes by, and whispers to them when 
they have reached the centre, so that they may know 
when to turn. When the bride appears to have reached 
the centre of the frame, the magician makes motions in 
the air with his wand, as if to recall her to life, and the 
prince kneels before her as she slowly extends her arms. 
Any number may participate in this vision, as the curtain 
can be lowered while the persons upon the concealed 
platform are changed. The story should be related to 
the audience while waiting, and a waltz or march should 
be played upon the piano. 



FOR THE YOUNG FOLKS. 39 

The magician's robe may be made of a curtain, and his 
wig and beard of cotton or wool. He should have a 
bright turban, and a cane wound with gilt paper for a 
wand. 

The prince should wear dark, short pantaloons, with 
long white stockings, loose white shirt trimmed with 
gold-paper fringe, and an opera-cape over the left 
shoulder. 

The girls should display as much variety as possible in 
their dress : some appearing with long trains and with 
powdered hair, and some in simple muslin. The bride 
should wear white, and, if possible, a long veil also. 

This entertainment has been produced in New York 
with great brilliancy during the winter, at charitable 
entertainments for several good objects. At a beautiful 
village on the Hudson Kiver it also formed . the chief 
attraction of a series of performances for the benefit of a 
church fund. On this occasion, when the curtain rose, 
a large frame formed the only ornament of a small room 
draped in black, lighted from the top by twenty powerful 
gas-jets, which were invisible to the audience. The 
prince — a handsome young gentleman, in a costume of 
blue satin richly embroidered in silver — stood upon the 
left, and a member of the New York bar, dressed in a 
long crimson robe, occupied the right of the stage. A 
flowing white beard and wig concealed his features, and 
he slowly waved a golden wand in his right hand. A 
graceful lady, in a brilliant cherry-colored silk dress, 
glided across the frame so slowly that she scarcely 
seemed to move ; and as the light gradually increased, 
she seemed to have come out of the shadowy background 
by magic. In the centre of the frame she turned toward 
the prince, showing her exquisite profile to the audience, 
and disappeared as she had come, seeming to melt away, 
and was followed by a stately lady in a rich dress of 
black and orange satin. Next came a queen in dress 
and presence, with crown and jewels to match. Then a 



40 PARLOR AMUSEMENTS. 

train of court ladies in alternate blue, pink, buff, lilac, 
and scarlet costumes were followed by a lovely blonde 
in green, whose powdered hair and diamond ornaments 
well became their various styles of beauty. Strange as 
it may seem, to each one of these the fastidious prince 
showed his disappointment; but when the beautiful 
bride — attired in white satin, with a flowing veil — made 
her appearance, he fell upon his knees as she slowly 
bent forward toward him, and the curtain descended to 
the music of a dreamy waltz, which had accompanied 
the entire performance. 



y 



THE MISER'S SUPPER. 



(Trick Pantomime for Three Boys.) 

The Misee. — Old dress-coat. 
Sebvant. — Shirt-sleeves, apron. 
Boy, concealed under the table. 

Plate, knife and fork, plate of meat, glass full of 
molasses-and-water, long straw or tube of maccaroni 
bent in a form of a syphon, newspaper, bag of tin money, 
piece of money with a long horse-hair or black sewing- 
silk tied to it. A candle neatly fastened to a long white 
stair-rail so as to make it three feet long. Two short 
eatable candle-ends in candlesticks: these candles are 
cut from an apple, and have wicks made of almonds. A 
table covered with a cloth, in the middle of the top of 
which is a small trap-door opening downward, fastened 
with a hinge and button on the under side ; on the right 
front comer a candlestick stands, with a hole in the 
bottom, over a hole in the table, through which the long 
candlestick is slowly pushed or lowered. Two auger- 
holes are made near the candlestick, and a cloth of same 
color as the table-cloth is neatly pasted over the table- 
top, through which the holes and cracks for the trap- 
door are neatly cut. The table-cloth should be tacked 
upon a strip which stands half an inch higher than the 
edge of the table in front. The boy who is to perform 
the tricks should be under the table when the folding- 
doors are opened or the curtain is raised. An empty 
glass. A tame cat under the table. A chair. 

41 



42 PARLOR AMUSEMENTS 

Enter miser, with bag of money, which he lays on the 
trap-door in centre of the table. Servant enters, places 
chair at right end of table, brings plate, knife and fork, 
and tumbler, and puts them down before miser, who 
points to his mouth to show his hunger. Servant strikes 
his left palm to show he must have money. Miser 
reaches for bag, which is gone. He accuses servant of 
having stolen it, and they search the room and are about 
to fight, when they discover that the bag is just where 
he left it ; he takes out a piece of money, which the ser- 
vant takes and puts into the tumbler. The money 
dances up and down very rapidly, being pulled by the 
invisible string. Both appear alarmed. When the money 
is quiet, servant takes up the tumbler, and the money 
jumps out and disappears. The miser gives him more, 
and he goes out for a newspaper, which the miser begins 
to read, holding it close to the candle, which the servant 
lights for him with a match. The candle slowly rises ; 
the miser is absorbed in his paper, and rises as fast as 
the candle, until he sits upon the top of his chair-back, 
with his feet upon the seat. As the candle descends, he 
comes down with it to his place. The same action is 
repeated. The servant then brings a glass of molasses- 
and-water, at which the old man smacks his lips with 
delight, sips a little of it, and places it near the auger- 
hole, and returns to his paper. The tube is put up, and 
the glass emptied through it. The miser picks up the 
glass, raises it to his lips, and seems much surprised that 
it is empty. The servant brings a plate of meat, goes 
for tin cover which he places over it, and when he lifts 
the cover to help the miser, the plate is empty. He goes 
for more, but returns and finds it all right. As the 
miser prepares to eat, the candle is pulled down and ex- 
tinguished. The servant runs out and brings the two 
eatable candles. The other candle then appears, and is 
lighted by the servant. He then discovers that the dish 
and cover have both disappeared, and is about to go for 



FOB THE YOUNG FOLKS. 



43 



more. The miser is so hungry that he eats both the 
candles, holding them in his mouth until he comes to 
the wicks, which he eats last. He is about to eat the 
long candle, when he discovers that the covered dish is 
in its place. He lifts the cover eagerly, and a cat jiimpa 
out ; he runs away in horror, and the curtain falls. 



LOVE IN AMBUSH. 



CHABACTEKS. 

Stephen the Parent. — Swallowtail-coat, hair powdered. 

Fbank the Lover. — White pantaloons, frock coat, eye-glass. 

Jenny the Maiden. — Calico dress, white apron. 

Properties. — Table, ironing-board just the size of the top of the 
table, clothes-basket, handkerchiefs, iron, pattern, two letters, 
sheet of paper, pencil, soap-box, white hat, overcoat, cane, 
straw Jtat, newspaper. 

Curtain rises. Jenny is ironing at table in centre. 
Stephen sits reading newspaper at left end of table, his 
overcoat, cane, and hat are on chair at K. Jenny often 
leaves her work, and runs to door as if expecting some- 
body ; but her father directs her to continue her work. 
She seems very impatient and anxious to get rid of him, 
and shows him a pattern, as if she wanted him to go to 
the store ; but he shakes his head and examines his pock- 
ets as if he had no money. A knock is heard. Jenny 
seems more anxious, and finally gets rid of the old man 
by showing him a letter to take to the mail. She puts 
on his coat and hat, gives him Jiis cane, and helps him 
off. As he goes out of the door, she leads in Frank 
behind his back. They shake hands as if overjoyed to 
meet ; she give^ him a chair, and takes another at the 
opposite side of the stage ; they cast glances and grad- 
ually draw their chairs together. He takes her hand, 
kneels down, and exprtjsses his devotion in fervent ges- 
44 



PARLOR AMUSEMENTS. 45 

tures. A cough is heard, they express consternation, 
and rush acrbss the stage. Another cough, and they 
seize the table and carry it away. Jenny then takes the 
basket off of the box, K., and places it exactly where the 
table stood, and makes Frank kneel upon the box and 
rest his hands upon it. She places the board upon his 
back and covers it with a sheet, so that a table is formed 
precisely like the other one. She then begins to iron 
vigorously. Stephen enters, takes off his overcoat, and 
places his hat and cane on one chair and draws up the 
other to the left of the table and prepares to sit down. 
Frank kicks away the chair and he sits heavily upon the 
floor. Stephen shakes his fist at Jenny, who motions that 
she was busy ironing and did not touch the chair. He 
then repeats the experiment with same result. Jenny 
then holds the chair firmly in place, while Stephen care- 
fully sits down and reads his letters. He then directs her 
to bring papet and pencil, and begins to write, when 
Frank dances the table up and down with all his might. 
Stephen accuses Jenny of shaking the table, but she 
denies it. treeing that the table is still, Stephen again 
attemps in vain to write. He then discovers Frank's 
hat on the floor in front of the table, and holds it up, 
asking whose it is ? Jenny puts it on his head, and he 
seems satisfied until he discovers his own and brings it 
to her. She then puts Frank's hat on her own head and 
walks around the table. Stephen follows her very 
doubtfully and shakes his head. As he passes the left 
end of the table he receives a kick from Frank and 
comes forward rubbing his leg. He then takes his cane 
and pushes under the table. Frank rises and throws the 
sheet over Stephen's head, and the lovers exit as 

CURTAIN FALLS. 



THE SLEEPING BEAUTY. 



CHAEACTERS. 



Kino. — Ermine robe, crmim. 

Queen. — Silk dress with ermine, crown, 

FouB Gentlemen. — Knee-breeches, white stockings, cloaks ovef 

left shoulder. 
FouB Ladies of Honor. — Silk train-dresses, powdered Jutir. 
Cook. — W^ite apron, white pantaloons. 
Page. — Knee-breeches and cloak, like Gentlemen of Honor. 
Two IVlAlDS. — Calico dress and white aprons. 
Two Musicians. — Costumed like Gentlemen of Honor, excepting 

the cloak. * 

Sdc littu!: Girls for Fairies. — Thin white muslin dresses, 

spangled with gold-paper. 
Old Woman. — Black dress, tohite apron and kerchief. ' 

The Prince. — Very showy dress, like Gentlemen of Honor, 
The Beauty. — White satin, like Ladies of Honor. 



SCENE I. 

The queen sits at K., rocking a cradle. The king 
rises and receives five of the fairies who enter L. After 
much ceremony, the maids enter and set a table for the 
fairies, who sit around it. The page places before each 
a golden plate, at which they are much pleased. The 
cook brings in the dinner, with the help of the maids. 
While they are busily engaged, the sixth fairy enters 
angrily, and the page places a chair for her and goes 
for a plate, returning with a common one. The faiiy 

4a 



[ 



I 



PARLOR AMUSEMENTS. 47 

demands a golden one. When the page explains to her 
that there are but five, she grows more indignant, 
dashes her plate upon the floor. The king tries in vain 
to pacify her, but she points at the cradle in a threaten- 
ing manner. The other fairies gather around as if to 
shield the child, on which tableaux the 

CUETAIN FALLS. 

SCENE II. 

The king and queen are seated in centre. Beauty sits 
on a couch at their right ; an old woman enters with a 
distaff at L. Beauty watches her eagerly, and motions 
her to draw near. The old woman comes up to the 
couch. Beauty takes the distaff and falls on the couch 
as if overcome with sleep. The old woman waves her 
cane, and the king and queen, the gentlemen and ladies 
of honor, who stand in a semicircle at back of stage, 
all fall asleep in the attitudes in which they stand, and the 

CURTAIN FALLS. 

SCENE III. 

The kitchen. One maid is sweeping at L. The cook 
is stirring some soup. One of the maids is boxing the 
page's ear, and the other is in the act of drinking. The 
old woman waves her cane, and all fall asleep in their 
attitudes. 

SCENE IV. 

The same scene as the second, with all the characters 
asleep in the attitudes in which they were left. 

The prince slowly enters L, looks around in the great- 
est amazement, and examines the different persons curi- 
ously. He discovers Beauty, expresses astonishment 
and rapture. Kneels and kisses her hand. Beauty 
rises. All the characters yawn, wake up, and follow tho 



48 PARLOR AMUSEMENTS 

prince, who leads Beauty out K. The kmg and queen 
bring up the rear. 

CUBTAIN FALLS. 

. SCENE V. 

Kitchen, with sleeping characters as m Scene III. 
When the prince and Beauty lead the procession in, all 
perform the acts they had commenced when put asleep. 
The cook stirs the soup ; the maid boxes the page's ear ; 
the other maids drink and sweep. 

SCENE YI. 

Same room as Scene IV. The procession enters, led 
by two musicians, who stand at back of stage. The 
fairies enter and stand at back corner, K. The prince 
and Beauty stop in centre. The gentlemen and ladies 
join hands around them; all salute the centre couple 
and begin the dance. 

All hands around ; all forward and back twice, bowing 
as they advance. The centre couple promenade out of 
the circle, divide, and stand together behind the dancers. 
Eight hands around ; forward and back twice ; turn part- 
ner by right hand; corner by left; every lady turns 
under her partner's hand, which is held up. Four ladies 
cross right hand ; left hand back, keeping hold in centre ; 
take their partners by the left hand and revolve in a 
star; stand in star-figure, raising up the left hands of 
the gentlemen, so the fairies can pass under, which they 
do twice ; all turn partners ; all promenade. The above 
figure is repeated as before, excepting that the gentle- 
men form the centre of the star. After which, all hands 
around; forward and back to circle; all keep hoU of 
hands, as the prince winds up the whole ; and, when all 
are in a compact circle, he leads out under the upraised 
hands forward to the centre ; and all form a semicircle 



^g^m 



FOR THE YOUNG FOLKS. 49 

at back. The king and queen enter. The prince and 
Beauty kneel before the king, who joins their hands, and 
the fairies dance around them in a ring. All bow to au- 
dience as the 

CUBTAIN FALLS, 



Illustrated Ballads form a charming entertainment 
for a winter evening, as they require slight rehearsal 
and little or no scenery. They can be very effectively 
performed in any parlor, by children of any age, who 
possess a good ear for time and a thorough appreciation 
of the spirit of the song. The words must be distinctly 
sung by a performer, who may be concealed from view 
of the audience if preferred. As each line is sung, the 
actors must present, in pantomime, its appropriate action 
in exact time to the melody. 



AULD BOBIN GRAY. 



CHABACTERS. 



AxTLD Robin Gbay. — Gray suit, knee-breeches, long vest, plaidf 

white wig, or powdered Juiir. 
Jamie. — Kilt, plaid, pea-jacket, sailor-hat. 
Jeannie. — Plaid skirt tucJced up over white, white waist, black 

bodice, plaid scarf. 
MOTHEB. — Black or brown dress, white kerchief, white apron. 
Father, — Ch'ay or brown suit, — wrapped in plaid, left arm, in 

sling. 
Furniture. — 1st Scejte, crown for Jamie; 2d Scene, tioo chairs, 

R. for parents, small chair, C, at small spinning-wheel; 3d^ 

Scene, box for door-stone, C. ; 4tli Scene, great clvair, with 

pillows, quilt, &c., for Robin, C, small table, cup, medi' 

cine, 

SCENE I. — Jamie, R., and Jeannie, L., discovered in attitude 
of parting lovers, .C. 



Young Jamie loved me well, and 

sought me for his bride. 
But saving a crown he hath 

nothing else beside. 
To make the crown a pound, my 

Jamie ga'ed to sea. 
And the crown and the pound 

were a' baith for me. 



60 



Jamie kneels on l^ knee. 

Jamie shows crovtm-piece; both 
sadly shake their heads. 

Jamie points off, L., and exit, 
L., at tlie tcord "sea." 

Jeannie follows him three 
steps, parts, comes forward 
sadly with clasped hands. 

[Curtain falls. 




PARLOR AMUSEMENTS. 



51 



SCENE II.— 'Father and Mother in chairs, L.; Jeajstsje, C, 

at wheel, hands clasped in lap. 



He had na' been gone a year 

and a day, 
When my father brake his arm, 

and our cow was stolen away. 
My mother she fell sick, my 

Jamie at the sea. 
And Auld Robin Gray came a 

courtin' to me. 



My father aould not work, my 
mother oould not spin, 

I toiled day and night, but their 

bread I could not win. 
Auld Rob maintained them 

baith, and with tears in his e'e, 
Said, " Jeannie, for their sakes, 

cih, pray, marry me." 
My father urged me sair, my 

mother did na' speak ; 



But she looked in my face till 
my heart was like to break ; 

So they gied him my hand, tho* 
my heart was on the sea, 

And Auld Robin Gray was a 
gude man to me. 



Jeannie in attitude 0/ despair, 

hands clasped. 
Looks sadly at her father. 

Turns towards Tier mother. 

Robin Gray enters, L. or C, 
kneels to Jeannie, and takes 
her right hand; she turns away 
in disgust and looks dovm. 

Robin Gray points to each; 
Jeannie sadly watches Ms 
motions. 

Jeannie spins at wheel, C. 

Robin kneels and implores with 

tears. 
Jeannie turns away as he takes 

her hand. 
Jeannie is led by Robin across 

to her parentSf and kneels 

with her hands across Iter 

Mother's lap. 
Mother regards Jeannie eam- 

estly as she kneels h^ore her, 

R. 
Robin crosses from C. to R., 

takes Jeannie's hand from 

Mother. 
Robin leads Jeannie to C. 

and draws her hand through 

his arm, looking fondly at 

Jeannie, who looks sadly 

down. 

[Curtain falls. 



SCENE ni. — Jeannie discovered sitting at door, very sad. 

t had na' been his wife but 

weeks only four, 
When sitting so mournfully at She slowly l\fts her head from 

my own door, her hand^ 



I 



52 



PARLOR AMUSEMENTS. 



I saw my Jamie's ghost, for I 

could not think it he, 
Till he said, "I've come home, 

love, to marry thee." 
Oh, sair did we greet, and miekle 

did we say; 
"We took na' kiss at all, I bid 

him gang away; 
For I will do my best a good 

wife for to be. 
For Auld Robin Gray is very 

kind to me. 



Jamie enters, L. ; Jeaki7I£, in 

fright, motions Mm away. 
They rush into each other^s 

arms. 
They bow their heads, then lift 

their heads as if conversing, 
Jeanste pushing him away; 

exit Jamie sadly, L. 
Jeannie comes forward, extends 

her hands. 
Sinks back into her seat, bowed 

with sorrow. 

\jCurtain falls. 



BCENE rV. — RoBur at C, in arm-chair, propped up by cushions 
or pillows. 



The nights were long and sad, 

the days were dull and wae. 
But that which grieved me most 

was Auld Robin Gray. 
He sickened day by day, and 

nothing would he take. 
But said, " Tho' I am like to die, 

'tis better for her sake. 
Is Jamie come?" he said, and 

Jamie by us stood. 
"I've wronged you sair," he 

said, "now let me do some 
good. 
I give you all, young man, my 

houses and my kine, 
And the good wife herself, who 

should not have been mine." 

We kissed his clay-cold hands, 
a smile came o'er his face. 

Said Jamie, "He is pardoned 
before the Throne of Grace ! 

O Jeannie, see that smile ; for- 
given I'm sure he is ; 

Who could resist temptation 
Willie hoping to win thee?" 



Jeannie bends over him, B,, 

Jeaxnie smooths his hair from 

hisforehead. 
Jeannib passes cup from table, 

R., which Tie reuses. 
Jeannie kneels for the old 

man's blessing. 
Jamie enters, L. 

Robin grasps Jamie's hands. 



Jameb kneels, L., and Bobin 

points off, L. 
Jeannie kneels, he joins their 

Tiands, they bow their heads 

for his blessing. 
They nse, lift his hands to their 

lips, and then suffer them to 

drop heavily. 
Jamie points up, L., one hand 

on arm cf chair, 
Jamie turns to Jeanitie. 

Robin falls back in death. 
Jeanndb kneels, R.; Jamie 
points up, L. 

[Curtain falls. 




THE MISTLETOE BOUGH. 

AK ILLUSTBATED BALLAD. 

4 

CHAKACTEES. 

The Bbide. — White dress and veil, wreath, also a faded wreath. 
LoYEiiL. — Knee-breeches of white paper-camhric, coat faced with 

same, ruffled shirt, white cravat, white wig and beard for 

last scenes. 
The Babow, ) same as Lovell, excepting bright-' 

Four Gentlemebt or Boys, j colored breeches and facings. 
FouB Ladies or Girls. — Silk train-dresses, powdered hair^ 
The Baboi^ess. — Black dress in same style. 
Six little Childben in ordinary dress. 
FOBNITUBE. — One table, one chair, two boxes. Front, side, and 

lid of chest, four and one-half feet long, two and one-half 

high, fastened at inside comers with hooks, which must be 

unhooked when the chest falls in last scene. 

[At rise of curtain the bride and Lovell stand in centre 
of stag6 at back. The baron and baroness at the left 
hand of Lovell. The others stand in two lines at side, 
gentlemen at right hand of partners. They dance as 
follows: head couple forward and back, sides forward 
and back twice and bow, grand right and left. The 
pianist must play the melody, and as the bride and 
Lovell meet at head of the stage, the singer must 
twice sing the chorus, "O the Mistletoe Bough.'* At 
the word "bough," the couples join right hands and 
bow, first to partner, then to opposites, in exact time 
with music. The song then begins, the same dancei 
coming in as marked.] 

63 



54 



PARLOR AMUSEMENTS 



The mistletoe hung in the castle Lovell leads his BiUDE/oncard 



hall, 
The holly branch shone on the 

old oak wall ; 
And the baron's retainers were 

blithe and gay, 
And keeping their Christmas 

holiday. 



and points up. 
They go backward to place, he 
points to sides of stage. 



Sides fortoard and back, bow, 
and begin the dance, which 
goes on as above. 



flkince.) 

(Sing.) The baron beheld with IiOVELL leads'Bvsim to Bakox, 

a father's pride 
His beautiful child, young Lov- 

ell's bride, 
While she with her bright eyes 

seemed to be 
The star of the goodly company. 



who salutes her; he tlien leads 
her to centre of stage and puts 
a ring upon her finger. 



CHORUS. 

O the Mistletoe bough! 
O the Mistletoe bough! 



They look tenderly at each other, 
and remain in centre hand in 
hand, until chorus, when tliey 
bow first to each other, then to 
sides. 

All bow as before. 



{Dance.) 



"I'm weary of dancing now," 

she cried ; 
" Here tarry a moment, I'll hide, 

I'll hide! 
And, Lovell, be sure thou 'rt 

the first to trace 
The clew to my secret lurking- 
place.'* 
Away she ran, and her friends 

began 
Each tower to search, and each 

nook to scan ; 
And young Lovell cried, "O 

where dos't thou hide? 
I'm lonesome without thee, my 

own dear bride." 
O the Mistletoe bough ! 



Bride comes forward, stretches 
out Tier hands wearily, places 
l^ Tiand on Lovell's shoul- 
der, who also comes forward ; 
she points over her slumlder 
ttTid runs off at the right. 
Dancers cross and go out. 



JjOyisiSj expresses despair. Bar- 
oness comes forward, places 
her right fiand on his shoulder. 
They salute each other, then 
bow to audience at chorus. 

[Curtain falls. 



FOR THE YOUNG FOLKS. 



55 



SCENE II. — Chest in centre^ table tipped over at right of stage, 
chair on floor at left. The melody is played. Bbide enters 
hastily: first hides behind table, then decides to enter chesty 
draws up chair and steps in. ■ The chorus is then sting, and 
the Bbide lets the lid fall heavily at last note. 



They sought that night, and thoy 

sought her next day, 
And they sought her in vain, 

when a week passed away. 
In the highest, the lowest, th6 

loneliest spot,. 
Young Lovell sought wildly, but 

found her not. 



The dancers enter slowly, pause 
a moment, then cross and e-xit. 
iCuriain falls. 



SCENE III. — Childben are playing " Thread the Ifeedle,'* in 
time to the melody ; they stop suddenly, ttco qf them point to 
right of stage. 



And years flew by, and their 

grief at last 
Was told as a sorrowful tale 

long^past; 
And when Lovell appeared, the 

children cried, 
"Seel the old man weeps for 

his fairy bride." 
O the Mistletoe bough 1 



LovEiiL appears at right, dressed 
as an old man, and crosses tJie 
stage slowly. 

He bows his head and weeps, then 
salutes the Childben, toho 
bow to him and then to audi- 
ence. [Curtain falls. 



SCENE IV. — Same as Scene III., except that the chest is unhooked 
at comers, and the faded wreath inside. 



At length an oak chest, that had 
long lain hid, 

Was found in the castle. They 
raised the lid, 

And a skeleton form lay mould- 
ering there, 

In the bridal wreath of the lady 
fair! 

O, sad was her fate I in sportive 
jest 



Old man slowly enters, and at- 
tempts to raise the lid, pushes 
the right comer and chest falls. 
He Iiolds up the wreath with 
trembling fingers. Gazes with 
horror on the chest. Turns to 
audience and points towards 
it. He kneels, and at last note 
of chorus falls on ruins qf the 
chest. 



56 



PARLOR AMUSEMENTS. 



She hid from her lord in the old 

oak chest; 
It closed with a spring I and her 

bridal bloom 
Lay withering there in a living 

tomb. 
O the Mistletoe bongh! 



iCurtain/alU. 



YILUKENS AND HIS DENIAH. 



AN ILLUSTBATED BALLAD, TO BE PERFORMED BY CHILDBEir 
FROM EIGHT TO TWELVE YEARS OLD. 



CHAEACTERS. 



Pabekt. — Top-boots, knee-breeehes, swallow-tail coat, ruffled shirtf 

white cravat, powdered hair, 
ViLLiKENS. — WTiite pantaloons, swallow-tail coat, ruffled shirt f 

fancy tie, curled hair. 
Desiah. — Train dress, bright overskirt, hat, large watetfall, 

Cfrecian bend. 
Properties. — Two sheets, letter, bottle, carpet-bag, money, 
(A concealed Singer begins song as curtain rises,) 

1. 

Thero was a rich merchant, in Parent bows low to audience. 

London did dwell. 

Who had for a daughter a very Parent points with Iqft Jiand. 

fine girl; 

Her name it was Deniah, just Parent spreads both hands in 

sixteen years old, ecstasy. 

With a very large fortune, in Parent rattles money in his 

silver and gold. pockets. 

chorus. 

Sing tural li lural 11 lural li la, Parent d<mces in time to music, 

forward. 
Sing tural li lural li lural li la, Parent dances in time to music, 

backward. 
Sing tural li lural li lural 11 la. Parent dances in time to music, 

forward. 
Sing tural 11 lural li lural li la, Parent dances in time to music, 

backward, and bows at last 

note. 
57 



58 



PARLOR AMUSEMENTS 



n. 

As Deniali was walking the gar- 

deu one day, 
Her father came to her, and 

thus did he say: 

-*GrO dress yourself, Deniah, in 
gorgeous array, 

Ind m bring you a husband, 
both gallant and gay.*» 

CHOBUS. 

ni. 

*' O papa, dear papa, I 've not 

made up my mind; 
To marry just yet I do not feel 

inclined; 
And all my large fortune I'll 

gladly give o'er 

If you '11 let me be single a year 
or two more." 

CHOKUS. 
IT. 

**Go, go, boldest daughter!" 

the parent replied. 
"If you do not consent to be 

this young man's bride, 
I'll give your large fortune to 

the nearest of kin, 

And you sha' n't reap the bene- 
fit of one single pin. 

CHOKTTS. 



V. 

As Villikens was 

garden around, 
He spied his dear Deni£^ lying 

dead on. the ground. 



DE27IAH enters and courtesies to 

PABE^% wlio bows in time, 
Pabknt approcLches Tier, and 

moves head and hand as if 

speaking. 
Pakest points to Dejoah's 

dress, who takes it in her hands 

and looks upon it. 
Deniah puts finger in her mouth, 

and turns head away. 
Both dance forward and hack" 

ward togetJier at each line and 

bow at end. 
Deniah puts right hand on 

Parent's Itft shoulder. 
Deniah places left hand coax- 

tngly under his chin. 
Deniah turns to left, moves both 

Tiands as if throwing away 

Tier money. 
Deniah looks at him implore 

ingly, and coaxes him as before. 

Both dance forward and back- 
ward, and bow in time as be- 
fore. 

Parent shakes his head and 
fist very savagely. 

Dz^OAH kneels down and cries* 

Paiubnt makes motions as if' 
throwing away motiey; takes 
large pin from his coai. 

Dent AH wrings her hands and 
joeeps. 

Sung and danced as b^ore. 

{Curtaim falls. 



walking the Vimjkens enters, discovers 
Deniah lying in centre of 
stage vnth bottle and letter; 
Tie jumps, throws up his hands 
in horror. 




FOR THE YOUNG FOLKS. 



m 



With a cup of cold poison lying 

down by her side, 
And a billet-doux^ saying by 

poison she died. 

OHOSUS. 



VI. 

He kissed her cold corpus a hun- 
dred times o'er, 

And called her his Deniah, 
though she was no more ; 

Then he swallowed the poison 
like a lover so brave, 

And Villikens and his Deniah 
both lay in one grave. 

CHOBUS. 

vn. 

At twelve next night, by a tall 

poplar tree, 
The ghosts of his children the 

Parent did see, 
Standing close to each other, 

and both looking blue. 
Saying, "We should be both 

living if it was not for you." 

CHORUS. 
VIII. 

Now the Parent was struck with 
a horror of home, 

So he packed his portmanteau, 
the world over to roam ; 

But he had not gone far, when 
he was seized with a shiver 

Which ended his days, so fin- 
ished him forever. 

CHORUS. 



Villikens picks up bottle and 

smells of it. 
Heads letter in amazement. 

Villikens dances forward and 
backward, looking first at let- 
ter in his left hand, then at 
bottle in his right, extending 
each hand in turn, bows at 
last note. 

Villikens kneels down behind 
DliNiAH, bends over and pre- 
tends to kiss her. 

Wrings Jier hands. 

Drinks from bottle. 

Falls behind DeniaH at last 
note. 

No dance. 

[Curtain falls. 

Parent enters, discovers tite 
lovers standing at back of 
stage dressed in sheets like 
ghosts. He jumps, looks first 
over his left shoulder at them, 
then over his right slwulder, 
and continues this motion 
through rest qf verse and 
chorus. 

Ghosts dance forward and back 
as bqfore, following Parent; 
all bow. 

Parent goes off left for hia car- 
pet-bag. 

He packs his clothes. 

Suddenly turns his head, sees 
ghosts, and shivers faster and 
faster until he drops in centre 
of stage. 

Ghosts dance around Parent; 
Deniah first ; both bow. 

{Owrtain falls. 



60 PARLOR AMUSEMENTS. 

Note. Swallow-tail coats are easily made by sewing tails on to 
the boys* jackets; the ruffles are made of paper. The girl can 
wear a long dress tucked up over her own. The sheets are placed 
over the heads, leaving only the face exposed. They hold the 
sheet under their china with left hands and point with the right. 
Where a trap-door is available they fall into and 1:180 up from it. 



I 



CHARADES. 






Although considered easy to act by many persons, 
tliese are by far the most difficult of all dramatic 
scenes. To render tbem effective, a quick wit and a 
brilliant conversational talent must be united with the 
power of imitation. It is, therefore, best to give only 
the skeleton of a few which have proved successful, 
leaving them to be endowed with life by the genius of 
the actors ; for those with written conversations often 
appear tame. 

The more extravagant the humor of a well-acted cha- 
rade the better; so we shall begin with some comic ones, 
which have often been acted successfully, in which, of 
course, the pronunciation of the words is considered, 
and not the spelling. 

JEW. 

Shylock. — Red dressing-gown, sash, red yam braid, loose trous' 

ers. 
Antonio. — Tunic, loose pantaloons. 
Portia. — Dark dress, white cotton wig, li7:e a strong-minded 

female judge; knife, scales, bond. 

Shylock enters, followed by Antonio. He demands 
payment of a bill for a pound of flesh found on his last 
month's meat-bill. 

Antonio begs for more time; says he will pay him 
when his ship comes iu. Shylock demands immediate 

61 



62 PARLOR AMUSEMENTS 

payment, or he will sue him. The matter is then re- 
ferred to the judge, who compels Shylock to produce a 
pound of beef, as a specimen of the amount at stake. 
She finds that Shylock has charged too much for his 
meat, and compels him to discharge Antonio, and to for- 
feit the piece he has laid before the court. Shylock 
expresses great discomfiture as the 

CURTAIN FALLS. 

ILLS. 

Fine lady in rich costume, reclining on a couch. 
Pompous doctor. 

Lady in hysterics. Doctor knocks and enters. She 
gives him a list of many ills and m'Uladies, each one of 
which he assures her she has no symptoms of. 

He then asks her a few questions, such as, " Do you 
find, that after a hearty lunch, a great dinner, or a 
game-supper, you experience a loss of appetite or indiff- 
erence to food ? " 

" Oh yes, doctor." 

" After a hard day's work, and dancing all night, do 
you ever feel a sense of lassitude ? " 

" Oh yes ! Doctor, you understand my case exactly," 

He writes a long prescription, and the 

CURTAIN FALLS. 

JEWELS. 

The Mother op the G^xccbi.t- Roman costume, draped toitk 

sheets. 
The two Gracchi. — Draped with sheets. 

The two Gracchi enter, each with a prize-package of 
candy, containing cheap jewelry, over which they are 
quarrelling. The mother enters with stately step, pulls 
the combatants apart by the ears, and takes away the 
prizes, exclaiming, " These are my jewels I " 

CURTAIN FALLS. 



FOR THE YOUNG FOLKS. 63 

NOR. 

JS'oah and his three sons, each with a wife upon his 
arm, come in, stepping carefully, holding up their dresses 
and umbrellas as if it were damp. They converse about 
the various animals, and the difficulty they have expe- 
rienced in getting them safely into the ark, and exit by 
another door. 

MA. 

A lady is seated on a chair at the centre of the stage. 
A small boy comes running in, calling, " Ma ! Ma ! " She 
orders him to do several things without success; and 
finally says, " Go out of the room." He says, " I wont." 
She replies, "Stay here; I will be minded." 

NORMA. 

A procession of druids and nuns enter, dressed in 
waterproof-cloaks and sheets. Norma follows, in white, 
with a wreath of oak-leaves. They march three times 
round the stage and arrange themselves in a semi-circle. 
Norma kneels and sings, in burlesque. Casta Diva. 

The moon rises behind the table, and all march out, 
chanting the well-known march. 

CO. 

An old man and his wife enter, and seem reading the 
signs all along a street; and the lady remarks, "What a 
splendid business must be done by Mr. Co, as his name 
apivears upon so many signs. 

NUN. 

A tableau can be introduced here of the well- 
known scene of taking the veil. 



64 PARLOR AMUSEMENTS 

DRUMS. 

An irascible old baclielor, wishing to revenge himself 
upon a family, presents the six boys each with a drum. 
The efEect of the instruments, played with vigor, gener- 
ally satisfies the audience in a short time. 

CONUNDRUMS. 
A troupe of minstrels, who give and guess conundrums. 

HARM. 

A party of warriors enters in proud array. It is the 
eve of battle. Marmion addresses his troops, and is pre- 
paring to lead them forth to victory, when he remem- 
bers that his washing has not come, and that he must 
have a shirt-front done up immediately ; and quotes the 
well known line, 

" Their swords are ten thousand, their bosoms are one." 

An Irish lad comes running in, and aftqr hearing the 
demand, calls out, "Harm, marm, marm! here's a man 
who wants some washing done." ^ 

IRON. 

The Irish woman is discovered ironing at a table. 
The shirt-bosom is ironed and laid on a chair. Loud 
noise is heard, and Chester enters, supporting Marmion 
in his arms, who waves above his head the fragment 
of his blade, shouting victory. The Irish woman 
demands payment for her work; but he puts her off, 
and continues his heroic utterances. She persists ; and 
he exclaims, ** Charge it to Chester. Charge, Chester, 
charge!" and expires. 



FOR THE YOUNG FOLKS, ^^ 



DRAM. 

An Artist, sitting by a table on which is an empty plate, a bottle^ 
and a few brashes. Pictwre frames, and other furniture qf a 
studio, are arranged around the room. He speaks in burlesque of 
Hamlet's soliloquy. 

" To be or not to be," — life's dreary dream is o'er, 

And dark despair stands shuddering on the shore, 

Pointing in terror to that dreadful bourne 

From which, alas ! there can be no return. 

Come then, dark dram of poison handy, 

Of strychnine made, called pure French brandy. 

Lift the black veil! thou dark and dreadful dram; 

Teach me what fate — what life is — what I am; 

And why this curse of genius has been given 

To crawl on earth and only dream of heaven: 

For round my mind the changing colors play 

Bright as the radiance of departing day; 

And forms of beauty ever fill my mind, 

Which to my canvas will not be confined — 

Bright fleeting visions which should trace my name 

"With the great masters! But one moment stay! 

They had no names till they had passed away! 

And when, to-morrow, they will find me here, 

"Will tardy fame mourn o'er my early bier. 

And glory toll my mournful funeral kneU? 

What! no bread here? " Plate, oh, thou reasoniest well." 

[Drinks fhom tJie bottle. Lady enters, and knocks away the dram 

from his lips. 
Lady. — " What can have tempted you to this V " 
Artist. — " Living in misery to dream of bliss; 
That which makes folly wise, and wisdom folly prove ; 
The burning cold and freezing heat of love ; — 
But you can make me happy! Let me trace 
The changing glories of that lovely face : 
The blush-rose mingling with the pure white lUy." 
Lady. — "To paint my face! How can you be so silly? " 
Artist. — "Next week the dreadful critics come to see 
Tf to their clique I can admitted be. 



66 PARLOR AMUSEMENTS. 

Oil, let me paint that face whicli haunts me ever! 
And if they don't pronounce the picture clever, 
Othello's occupation's gone! and then 
I never will attempt to paint again," 

CUBTAIN FAIiLS. 

ATTIC. 

The same room as before. One of the picture-frames 
Is placed upon the table near the edge, the top of the 
frame leaning against the wall. A black shawl is pinned 
to the back edge of the frame, and the lady stands 
behind the table so as to show her head and shoulder 
in it, the rest of her body being .concealed by the tables. 
Three critics enter, and express their disgust at being 
invited to such a miserable attic — as if any picture 
worth having could be produced in such a poor place. 
They then proceed to find fault with it in every way, 
criticising the drawing, color, &c. The lady keeps still 
as long as possible, then bows to them from the frame. 
The artist laughs at them, and the critics retire in con- 
fusion as the 

CURTAIN FALLS. 

DRAMATIC. 

A manager sits at a small table at left of stage, and 
many applicants for engagements for the next dramatic 
season arrive, each one in turn giving a specimen of his 
powers. A tragedian, Irish, Dutch, comedian, ballet- 
dancer, and many others present themselves. 



GAMES OF THOUGHT. 



Many persons enjoy a quiet game which taxes the 
thinking powers; and we offer here a few which will 
prove interesting to children, and which can be played 
in a manner hard enough to tax the brightest intellect. 
Of these none are better than the good old game of 
Throwing Light. 

Some word must be chosen which has several mean- 
ings, such as deer, pen, post, mail, rail-, oar, yam. One 
player may conduct the game, or the company may be 
divided into sides. The leader talks fluently about the 
word, using it in as many meanings as possible, varying 
his conversation so as to confuse and mislead the 
guessers. I give a specimen of the manner in which one 
of the above words has been played by a Boston club, 
leaving the reader to guess which one is meant. 

"Fixed and immovable, it sustains the swift messen- 
ger in its rapid course, and hinders slow travellers on 
their weary way. An emblem of dulness and stupidity, 
it spreads intelligence far and near. The lover longs for 
it with ardor ; and the most stupid animals are attached 
to it also. Although very matter of fact, it is a crea- 
ture of the imagination. 

" One man is supported by it in time of weakness, while 
another is plunge<i into sorrow, or exalted to joy by its 
tidings. The real one is put to the meanest uses, while 

C7 



68 PARLOR AMUSEMENTS 

heroes gladly sacrifice their lives for the imaginary one. 
It cheers the sorrowing, sustains the weak, unnerves 
the strong, and holds a light to those in darkness, while 
the dull are bound to it by enduring ties. Welcomed at 
the doors of all, it seldom enters the houses of the poor ; 
but no house can stand without it, and no country 
exists where it is not known. One brings another every 
day, and a man may be called by it, from it, to it, and 
pursue its imaginary existence even to death. 



TWENTY QUESTIONS. 

This is unlike the game of Throwing Light, for it 
depends wholly upon plain matter-of-fact replies to 
questions, without puns or any equivocation of fancy. 
The company must be divided into sides, each one of 
which selects a word to be guessed, and endeavors in 
turn to guess the word chosen by the other side. The 
most difficult word must be found, but it must be the 
name of some particular thing which is known to exist 
somewhere by both parties. Great care must be used 
by the guessing side not to waste questions, which must 
be used with care, as an account of them is always kept 
by the other. Any question may be used, except such 
as would have the name of the thing for the only true 
answer. Things thousands of miles away, of the most 
minute character, may often be guessed in five questions, 
after practice. Some persons have conducted this game 
who seldom had occasion to ask more than the following : 

*' To what kingdom does it belong? What is its size? 
shape? distance? and height from the ground?'* 

An umpire should be chosen to settle the disputes 
which often arise. 



FOR THE YOUNG FOLKS. ^ 69 

CARTOONS. 

Each person draws a picture of some eventful scene, 
or in illustration of some line of poetry, or proverb. 
The drawing is passed in turn to each person, who 
guesses and writes its subject underneath. For pictures 
in illustration of this new and popular game, see " Oui 
Young Folks' Magazine," for February, 1872, 



THE MENTAL INDEX. 



Each player writes rapid replies to the following 
questions, as fast as they are read by the leader of the 
game : — 

What do you most prefer ? 

What is your greatest aversion ? 

Which is your favorite author ? 

Which is your favorite character of fiction ? 

Which is your favorite character of history ? 

What quality would you most desire in a friend? 

What is your favorite color ? 

What do you like best to eat ? 

When all have written, the leader reads the papers, 
and each one guesses the name of the writers. / 

CHABACTER. 

One person leaves the room, and, during his absence, 
some personage of history and fiction is selected. They 
address the first player, upon his return, as if he were 
the person upon whom they have fixed, and he is to 
guess who it is by their remarks. The one by whose 
remark the name was guessed, must, in his turn, go 
out. 

THE ARTIST. 

Each player draws the head of some person, animal, 
bird, or fish, and turning down the paper, passes it to 
70 



ma 





PABLOB AMUSEMENTS. 71 

the next; who draws a body and passes it to a third, 
who finishes the picture; of conrse without knowing what 
has been done by his predecessors. On opening the paper 
a singular figure is the result. 

MESMERISM. 

One person goes out of the room ; the others decide upon 
some easy thing for him to do. He is led back blindfolded, 
and the players surround him, laying their hands upon 
him so that the finger-tips aU touch him, the thumbs of 
both hands touching each other, and the little fingers 
touching those of the next players in the circle. "When he 
is completely surrounded with hands, he is directed to di- 
rest his mind of thought as much as possible, while the 
other players fix their minds intently on the idea they 
have chosen. In most cases, after a few minntes, the 
player begins to move in the desired direction, and often 
performs tiie very act which he is willed to do. 



DECLAMATION. 

The art of declaiming is one of the most important, and 
too often one of the most neglected branches of education. 
Although a couple of hours each week is devoted in com- 
mon schools to this exercise it is too often a tedious and 
wearisome performance to teachers and scholars alike. In 
many families the deanand for a new piece to speak is re- 
peated each evening by the children, and the parents, after 
seeking untU they are tired, to please their fastidious tastes, 
at last settle down iu despair on some of the old poems 
which they learned iu their youth, as their fathers did be- 
fore them. These pieces, many of them grand in concep- 
tion and well worthy of their enduring fame, have, by fre- 
quent repetition, grown so familiar and duU that the pupil 
cannot give them the expression which interest alone c^ 



72 PARLOR AMUSEMENTS 

impart. We have therefore collected from various sources 
a few original poems, all of which have been often copied 
and some of which have been spoken in schools, in the 
hope they may be found useful in the emergency referred 
to. The first one, " The Old Man's "Will," is a true account 
of a noble charity founded by a gentleman who devoted 
the profits of a long life of economy and labor to the pur- 
pose of preventing poverty in the section it was intended 
to benefit. The fund has accumulated by judicious invest- 
ment until its benefactions are of great and widespread 
utility. Two of the other poems are of a pathetic, and one of 
a humorous character, and all have the merit of originality 
if nothing more. They are modestly submitted to the ris- 
ing generation, hoping they will speak for themselves if 
well spoken. The first requisite of a speaker as well as of 
an actor is, that every word should be careftilly committed 
to memory. The teacher should enforce this rule with great 
care, as a slip-shod manner of study is the fault of many 
beginners, and one that can seldom be remedied in after 
life. The necessity of having every word exactly correct 
should also be insisted upon, as it is an excellent discipline 
for the mind. If the pupil commits with difficulty let him 
learn but one verse at a lesson, but learn it letter perfect, 
which is a much better task than a dozen verses full of 
errors. Before speaking the pupil should bow gracefully to 
the audience and then stand erect, with shoulders thrown 
back, in order to give full effect to his voice. Every word 
should be enunciated in a clear and simple manner, to en- 
sure which it is well to speak very slowly at first, until 
every separate sentence has been clearly uttered. Many 
orators who have studied this art can be distinctly heard at 
the end of the largest halls when speaking in their natural 
voice, when the words of a much louder declaimer would 
be inaudible. Gestures should be very few and full of ex- 
pression, and only such as the sentiments of the piece nat- 
urally call forth. Keposo of manner is far better than vio- 



FOB THE YOUNG FOLKS. 73 

lent gesticulation, being much more effective, especially as 
too many gestures are apt to seem ridiculoas when the 
speaker is of an excitable temperament. Much change of 
voice should be avoided, and any forced effects, but the 
spirit of the piece must be closely followed. The best way 
of doing this is to have the mind intent upon every word 
uttered, and good taste will dictate a suitable expression 
of it. Pathetic pieces are usually spoken rather slowly, 
humorous ones more rapidly, and patriotic ones louder 
and with spirit and dash. These little poems, as before 
mentioned, include specimens of the former styles, as the 
pupil will find patriotic ones in the many war lyrics pro- 
duced during the times of struggle which inspired them. 
Most of these were written several years ago and are given 
as specimens of the pieces which are to be recited in a sim- 
ple and natural manner. 

THE OLD MAN'S WILL. 

Old Oliver Smith, in his threadbare suit. 
Hears the boys of the village laugh and hoot, 
" There goes the miser, so poor and old, 
Starving and scrimping to heap up gold." 
But the old man thinks, with a quiet smile, 
" Let these idle scoffers wait awhile. 
Till time, which sifts the wheat from chaff, 
May show that the poor have cause to laugh." 
The old man goes to the promise sm'e, 
" "Who feeds the hungry and clothes the poor, 
To the very least of them all, shall see 
He has done it also unto me."' 

The years roU by and the will is read, 
And blessings descend on the giver's head; 
For many a farmer of wealth and skill 
Owes his start in life to the old man's will. 
It hears the orphaned children's cry. 
And the blushing maiden's modest sigh; 



74 PARLOR AMUSEMENTS 

And it smooths tlie poor man's dying bed, 
For it gives to his starving children bread ; 
And it claims its share of the perfect bliss 
Which crowns the lover's ecstatic kiss : 
For it furnishes gold for the golden band 
Which binds them together in heart and hand. 
" God help the widow ! so poor and old," 
And He does, from the miser's hoarded gold: 
For His perfect love to the old man gave 
Both the wish to give, and the power to save. 

Ye sordid slaves of the shining pelf, 

Who love the gold for its own poor self, 

Who know that the cash you love so well 

Is dragging you down to the depths of hell, — 

If how to leave it you'd like to know, 

Yet take it with you when you go. 

To the bank which seven-fold interest pays, 

Where no thieves can steal and no rust decays. 

So that riches take wings and upward fly, 

And the camel springs through the needle's eye,— 

Go clothe the poor and the hungiy fill. 

And follow the text of the Old Man's Will I 

SWEET-PEAS. 

**Do you love the sweet-peas, grandpa?" my darling 

said to me. 
As, holding up a bunch of them, she climbed upon my 

knee; 
Her shining curls of tangled gold, all mingled with the 

gray, 
As, nestling on my shoulder, her winsome forehead lay, 
" Yes, I love them, little Mabel, for they always bring to 

me 
Three pictures, which my old blurred eyes can never fail 

to see. 



I 



11 



FOR TEE YOUNG FOLKS. 75 

" A small brown cottage by tho sea, witli graceful vines 

o'errun, 
In a quaint old-fashioned garden, all open to the sun, 
Where she stood among the blossoms on a blessed sum- 
mer day. 
As graceful, sweet, and blushing, and as fresh and pure 

as they; 
When the timid * Yes * was spoken, and at once into it 

rglled 
All the goodness and the virtue that my erring life could 

hold. 
Then I thought I loved her truly, with my heart and 

soul and will ; 
But every day I've lived since then I've loved her better 

still. 

*' The tender fragrance of the flowers now hovers round 

the room ; 
But it cannot cheer the darkness sad, or dissipate the 

gloom. 
Where calm and still, in perfect peace and purity, she 

lies. 
My wife ! my darling ! all I have on earth to love and 

prize. 

"All summer long the sweet sweet-peas luxuriantly will 

grow, 
Eegardless of the blessed one in dreamless sleep below ; 
In the rough old village graveyard, that I love with all 

my heart. 
Too restful and too placid' for the fuss of modern art, 
There is room just close beside her, where I hope ere 

long to lie;'* 
But my baby darling whispers, "Dear grandpa, don't 

you cry!" 

Concord, Mass., January, 1872. 



76 PARLOR AMUSEMENTS 

CATCHING CUISTNERS. 

A braezy point far out at sea ; 
A fresh sou'-wester blowing free 
Drives up the surf in a dashing swirl, 
To kiss the feet of a lovely girl. 
The violet shadow that seaward lies 
Scarce rivals the hue of her dreamy eyes, 
Which turn with a soft bewitching look 
On a handsome youth as he baits her hook; 
For with great good luck, on the coming tide, 
They are sitting together, side by side, 
Catching cunners. 

The graceful kelp sways to and fro 
As the white-capped rollers come and go. 
And sweet sad thoughts of a buried past 
O'er the young man's mind came thick and fast, 
Of a love that cruelly hard had died, 
In a bitter struggle of wounded pride. 
When a year ago she had proved to be 
As changeful and false as the sounding sea. 
But he only says, with a glint of the eye, 
"When the tide has turned it's useless to try 
Catching cunners." 

Eastern Point, Summer of 71. 

A COMMON CONTRAST. 

On the Common, by the Frog-pond, a patient figure 

sits, 
And all day long, through cloud and shine, her brow 

and stocking knits ; 
Happy to charm the cents away from some stray child 

of Eve ; 
Content if all the passers-by her tempting apples leave. 



FOR THE YOUNG FOLKS. I? 

The pond, and sky above it, were blushing rosy red 

In the glory of the sunset, when I saw the graceful head 

Of a winsome little beauty, with its erown of shining 

gold. 
Bending across the basket to the one so gray and old. 

Her dainty dress, from witching boot to tiny little glove, 
Proclaimed her as the petted child of luxury and love. 
And a bitter, bitter contrast to the worn and wrinkled 

dame; 
But the sum of human happiness to all is much the 

same. 

Fond hearts may break for your sweet sake, oh blue-eyed 

little dear. 
And loving hands may from your path the briars and 

pitfalls clear; 
But you must learn through pain and loss, "for 'tis tho 

common fate," 
X'ifij'B hardest, brightest lesson, how to calmly trust and 

wait. 



DAISY. 

Darling I with the great brown eyes, 
Brimming full of sweet surprise, 
Fleecy floss of spun-gold hair, 
Drifting over temples fair, 
The golden summer seems to me 
Fuller of grace for knowing thee. 

Where the solemn mountains stand, 
We climb together, hand in hand, 
And the summer Sunday smiled 
On the old, and little child, — 



78 PARLOR AMUSEMENTS 

One bowed low by weary strife 
Of a long and wasted life, 
And the other fresh and fair, 
And pure as this delicious air. 

Rippling laughter, soft and low, 
Itises from the porch below, 
Where fair brunette and lovely blondo 
Have drawn a charmed circle fond 
Of friends and lovers to their feet, 
By winning smiles and voices sweet, — 
Many an aching heart may know 
/ Sorrow and love together go ; 
But our love, my baby friend ! 
Knows no sting or dreary end ; 
Perfect trust in true love lies 
Mirrored in your lovely eyes, 

Nothing in this wondrous view, 
Can compare, my pet ! with you ; 
Graceful ferns bend low to brush 
Your cunning coat of bright blue plush ; 
Wide-eyed daisies envious stare 
At the ones that kiss your hair, 
Nodding from the graceful brim 
Of the saucy hat they trim. 

Stowe, Vt., Summer of 1870. 

THE LITTLE HOUSE. 

A little house of modest brown 

Stands close by the church, in a pleasant town, 

Where early and late, all the summer day, 

A dreamy organist comes to play ; 

And throi^h the house and its garden round, 

The softened notes of the organ sound ; 



FOR THE YOUNG FOLKS. 79 

Through the open window they gently steal, 

To chant their grace at the morning meal ; 

Then float away on the- early breeze, 

Where the hammock swings from the apple-trees, 

Through the bending corn, whose green leaves glisten 

As with all its ears it trifis to listen. 

And the lovely children pause in play 

To hear the sweet notes die away, — 

Away they go, for they cannot stop 

To furnish music for the hop. 

Where the morning glories in round dance twine ; 

But they sound through the gorgeous trumpet vine, 

And set the dahlias all aglow 

By kissing the mignonette below. 

They welcome the Father home at night 

To the pleasant porch with its faces bright, 

Where the beautiful Mother, the soul of home, 

And the brown-eyed children at sunset come ; 

And a graceful maiden, with wondrous hair, 

And soft blue eyes, sits dreaming there 

Of the mighty discords, and chords of life, 

And the perfect harmony, after the strife : 

And the notes of the organ rise and fall 

In sweet benediction above them all. 



GOLDEN EOD. 

A SKETCH IN COLORS. 

Through a tangled thicket of golden rod, 

A lovely maiden at sunset trod ; 

With her bright red skirt, and her sack of blue. 

And curls with the gold glints gleaming through. 

Like a cameo cut on a rosy shell. 

Her perfect profile stands out well 



80 PABLOB AMUSEMENTS 

On the glowing west, as she turns to see 
The radiant splendor of shrub and tree, 
All flaunting their banners of gold and red, 
To show that the beautiful summer is dead. 
Across the hills on the distant bay 
A fleet of fishermen anchored lay. 
Their torn sails gleaming pure and white. 
Like most men's lives to the distant sight. 
One of Indian Summer's most perfect days 
Is flooding the earth with its golden hsize ; 
And the maiden's mind, with a sweet day dream. 
As bright as the blossoms that round her gleam. 



SOCIAL AMUSEMENTS; 

OR, FULL DIRECTIONS FOR A HALL ENTERTAINMENT, AND 
HOW TO PREPARE IT IN ANT CITY OR VILLAGE. 



The importance of having a good time is too much neg- 
lected in the hurry of the busy world ; everything is there- 
fore a real blessing which promotes sensible enjoyment, and 
does good at the same time by cultivating tne thinking 
powers, and developing a taste for art while it earns money 
for charitable purposes. / 

In every village of our land talent lies dormant, and 
beauty, wit and grace need only organization to form a 
most attractive entertainment, which, besides being profi- 
table, will do more to promote social intercourse than a hun- 
dred formal meetings. In many towns ladies and gentle- 
men from the different churches unite each season to help 
each other. At a beautiful village on the Hudson a Unita- 
rian Society numbering only six young ladies among its 
members, has for two successive seasons cleared five hun- 
dred dollars in this way by three days of easy and pleasant 
woik. The pastor of a church of a difl'erent denomination 
said, at the close of one of these festivals, " Three days ago 



JtOM THE YOUNG FOLKS. 81 

these ladies passed one another on the street without bow- 
ing, and now they borrow each other's finery with the free- 
dom of old friends." 

Many energetic persons work hard to little purpose ia 
this direction because they do not know how to begin, and 
for their assistance it is proposed to give plain directions for 
producing a performance which has cleared thousands of 
dollars this season for charitable purposes. 

At the fi,rst meeting the following officers should be 
chosen, none of whom should be performers : a business 
manager, to attend to the advertising, sale of tickets and en- 
gaging the hall, door-keepers, ushers and orchestra; the 
property man, who prepares all the furniture and small arti- 
cles, and sees that everything is in its proper place for each 
scene ; the stage manager, who has absolute control behind 
the curtam, and attends to the choice of programme, distri- 
bution of parts and grouping of tiie scenes, as well as to the 
scenery and lights. Two ladies of taste as costumers should 
also be selected to see that each one is tasteftilly dressed 
and ready at the moment the scene is called, as delays are 
dangerous, and there is no excuse for them, as in no case 
should the audience be compelled to wait over five minutes 
for any change. 

The next step is the distribution of parts, in which aU 
jealousy and ill-feeling can be prevented by arranging the 
ladies in grovps according to the style of complexion. 

The best number for an elaborate performance is five 
blondes, six dark or oriental, three large for statues, six for 
court ladies, six with some comic talent for pantomime, 
also four gentlemen for pantomime, two for boatmen, two 
for court scenes, one child for statuary, one for Cupid and 
one for court scenes. The first meeting can be m any room, 
and two rehearsals upon the stage will be enough, imless 
elaborate pantomime and plays are used, which must of 
course be committed to memory first, as it is worse than 
useless to rehearse them until every part has been perfectly 
learned. 



83 



PABLOB AMUSEMENTS 



Every large town is now provided with scenery, but if 
none is available it is better to use simple black drapeiy 
than to attempt making any. A platform four feet high 
and three feet wide should be placed across the rear of the 
stage, and a frame seven feet high by five feet wide, made 
of six-inch piue board covered with gold paper, should be 
supported on upright posts in the centre of this platform. 
A curtain of black cambric with dull side out should cover 
the whole back of the stage, drawing in the centre to close 
in around the frame when open, and to form a background 
for the statuary when drawn, and another curtain must also 
be hung behind the frame. 

In front of this permanent platform a temporary one is 
made of three tables, about two feet wide and three feet 
long, placed lengthwise, with a space of ten inches between 
the first and second. These are draped with white cotton 
sheets for statuary pedestals, and serve also for the deck of 
the boat, which is made in profile with a high prow and cov- 
ered with gold paper with black stripes drawn upon it. It is 
kept in an upright position by leaning against the tables ; and 
boxes two feet high, covered with bright drapery, are placed 
at the prow, stem and centre upon the tables. To make 
the plan clear, it will be best to describe several scenes ex- 
actly as they should be presented, givuig costumes, proper- 
ties, scenery, lights, etc., for each. The performers are ar- 
ranged in groups as above, the blondes in white muslin 
dresses made as simply as possible, with full waist and an- 
gel sleeves ; the orientals in bright skirts, sleeveless jackets 
or drapery of crape shawls, with turbans upon their heads, 
gold paper bracelets and chauis, with all the showy orna- 
ments possible on the front of the dress. The ladies of the 
pantomime all wear quaint calico dresses, with old-fash- 
ioned bonnets, hats and cloaks. The court ladies in sUk 
train dresses with powdered hair, and the statues with clas- 
sic drapery of cotton sheets, with faces covered with chalk, 
and white gloves sewed on to stocking-legs upon their hands 
and aims. One court gentleman in showy velvet robe, and 



FOB THE YOUNG FOLKS. 63 

one in a cavalier dress with cape. The boatmen in flannel 
shirts, dark pantaloons and high boots. One fop and one 
old man, and the others according to the parts they fill in 
various pantomimes. 

The general dress described above is the one in which 
they all appear at first, and most of the second costumes 
are so arranged that they can be put on over the other with 
very little trouble, and when any change is called for, it 
will be described in its place in the scene. During the 
overture the statues stand at the left upper entrance, all the 
other performers stand upon the right of the stage out of 
sight, while the first scene is ready to be shown at the ris- 
ing of the curtain. 

The Progress of Music. — The tallest blonde stands at 
the prow of the boat, holding a long trumpet; next another 
stands on the floor between the tables, holding an oar; a 
lovely blonde with a pretty Cupid by her side kneels at a 
golden harp; the fourth sits with a lyre at the stern, and the 
fifth stands upon a box above her with a tamborine. The 
group is changed in the second scene by the Cupid being 
discovered kissing the harpist, thus creating evident discord 
among the players. Each one wears a scarf of cambric, of 
a difiiBrent color, which is covered with gold paper cut in 
lace pattern, and is fastened on the right shoulder and falls 
to the feet. The boat is then taken away, and the pedestals 
are thus ready for the statues, who form a 

Monumental Group, as follows: Faith leans upon a 
cross at the right. Glory stands in the centre, with uplifted 
wreath, and History sits at the left with book and pen, 
with the child looking over her shoulder; all must keep 
their eyes shut ; the pedestals are covered with cloth ; the 
music is sad, and a green light is used. Next the orientals 
appear in the scene entitled 

By the "Waters of Babylon. — The tallest one, holding 
cymbals, stands on the right end of the tables, the shortest 
kneels, leaning against her with guitar; another cymbal 
player stands on the stage at right, with a tamborine player 



84 PARLOR AMUSEMENTS 

opposite her on the left ; another sits on a box on the right 
•of centre, while a venerable harper in black occupies the 
centre. At first all look sad and hold their instrumehts 
listlessly. Kext all seem to be playing, and assume the 
most animated attitudes. The light should be white and 
the music sad. The properties used are cut from sheet 
iron and covered with gold paper. The statues next 
appear in 

The Angel op Sleep. — The tallest one, wearing large 
wings, bends over another who holds a child in her arms. 
The boat and water strip are next brought in again, and 
four court ladies. The two boatmen and the Doge of Ven- 
ice form the scene entitled 

The Bridal op the Sea. — At the prow a pretty child 
points out some object in the distance to a lady who stands 
with her ; a second lady has her right hand on the shoulder 
of the Doge, who is in the act of dropping a ring into the 
water ; one lady is sitting, and another is standing witness- 
ing the ceremony ; one boatman holds the oar, another the 
rudder of the boat; a concealed choir sing "Beautiful 
Yenice, the Bride of the Sea." For the above scenes a 
horizon scene, alternates with the black curtain, but now 
this curtain is drawn away and the frame exposed in which 
the picture of Hagar is represented by the largest of the 
orientals ; at her feet lies Ishmael, dressed in a loose white 
robe, and the tallest blonde, wearing a pair of wings, bends 
over them. Hagar is praying and the angel points upward 
with her right hand. The light must come from the top 
and one side, and be white. Next the pantomime ladies 
enact 

Too Late for the Stage. — At the head of the line an 
old lady grasps the arm of an old man who stands with 
uplifted umbrella; five others follow in line, each one bear- 
ing a band-box in one hand, and a bundle, bag or bird-cage 
in the other; all look eagerly forward, then beckon vigor- 
ously, and finally rush out fi-antically in pursuit. The scene 
is a wood and the music livelv. In the meSntimo the 



FOB THE YOUNG FOLKS. 85 

frame has been filled by two court ladies, one holding a 
casket of jewels, which she seems to be showing to ttie 
other, who kneels beside her. The name of the picture is 
The Family Jewels, and the light is the same as on the 
first picture. 

Hermione, or the Living Statue, is next shown ; the 
statue stands upon a draped table in the centre of the stage 
against the black curtains ; all the court ladies and gentle- 
men are grouped around in a semi-circle ; at a given signal 
the statue moves very slowly, first raising her hand, and 
then spreading her arms, at which the gentleman on the 
right moves forward as if receiving ker in his arms. 
Another picture can then be ready. 

" The Chocolate Girl " is too well known to need de- 
scription. 

The pantomime actors will now be ready, by taking off 
their wraps, to appear in "Washing Day ; one stands at 
a wash-tub in the centre, another at a chum. At a spin- 
ning-wheel in the comer sits an old woman, an old man 
tends a baby, and a girl is sawing wood at the left side. 
The scene is a kitchen, and " Yankee Doodle " is played, at 
first very slowly and then faster and faster, and the charac- 
ters keep time with the music until they get into very rapid 
motion. While this scene is going on in the firont part of 
the stage, the tables and boat can be re-arranged, and 
The Return from the Harvest shown by the orientals, 
who have had time to change their dresses to appear as 
Roman girls, with a flat white cap, with white waist and 
bodice, and a long white apron ornamented with strips of 
cloth of various colors sewed across it. In the centre a 
youth without a coat, in knee-breeches with bright stock- 
ings, is lifting a large basket on to the head of a maiden who 
stands in the centre ; at the prow another lady stands, lean- 
ing on a sheaf of wheat ; at the stem a third holds a huge 
apple away from a httle boy who reaches for it, and a boat- 
man with red cap stands at the oar, while a girl holding a 
rake sits on the side of the boat as if she had just jumped 



86 PABLOB AMUSEMENTS 

on. The scene is a horizon^ and the singers chant a harvest 
home ; the hght is first white, then red. 

An illustrated poem, " The Sculptor Boy/' by Bishop 
Boane, may next be shown, in which a statue stands in a 
box two feet wide by three feet high, from which the comer 
«,nd the end have been removed, and the front covered with 
white cotton cloth to produce the effect of a partly finished 
statue. The boy, with upraised mallet, is about to strike 
the chisel, which is placed upon the shoulder of the statue. 
At the word " angel vision," the scene, which must repre- 
sent a plain room, is opened, and three blondes are dis- 
covered, wearing wings and grouped around a tall cross. 
They stand upon the tables, and are shown in a red light, 
against a black curtain. 

IsText, a scene from Dickens may be presented, for which 
it will be well to refer to Professor Fettc's excellent " Dia- 
logues from Dickens," which contains full directions for 
preparing them. 

A very good closing scene for this performance is called 
" Behind the Scenes," upon which the curtain is supposed 
to have risen by accident, and all the performers, dressed in 
the costume in which they last appeared, are grouped 
arotmd in wild confusion. Statues, pantomimists, court 
ladies and orientals, all together, seem discussing the per- 
formance. The properties are piled in a heap, and parts of 
several different pieces of scenery are shown. In the 
second scene they all sing in chorus as the curtain falls. 

As the light is of the utmost importance, it is best to de- 
vote a little space to a description of the proper methods of 
arranging and controlling it. Every stage is fitted with at 
least three rows of border-lights, which cross the stage on 
the top, and with one row of foot-lights, which must act in- 
dependently of each other. For all pantomimes, plays, etc., 
which occupy the whole or front half of the stage, all these 
lights should be burning in full. "When the picture frame 
is used the foot-fights must be turned down one-half, and 
the border lights should be full. When colored lights are 



FOB TEE YOUNG FOLKS. 87 

used, turn down all the stage lights slowly, in order to 
bring out the colors by degrees. The best colored lights 
can be obtained in all shades by an order sent to Happy 
Hours Company, Few York, or a head-light of a locomo- 
tive may be used, placed at the right of the stage ten 
feet from the frame in an oblique direction, so as to be 
concealed from the view of the audience by the side 
scenes. Sheets of green, orange and red glass, sixteen 
inches square, must be placed in the cenire of a wooden 
frame large enough to cover the opening of the lamp, 
so that no light can escape without passing through 
the colored glass. By the white light is meant that no 
colored shade is placed in front of the lamp. The top light 
is indispensable, and it can be easily arranged by any gas- 
fitter, but in case there is no gas in the hall, a row of large 
kerosene lamps must be placed above the front of the stage 
with a sheet of tin behind each, to throw the light down 
upon the frames. 



PRIVATE THEATRICALS. 



Private Theatricals do not, as a rule, draw as good 
houses as formerly, since so many poor performances have 
been given, and so many people have been willing to insult 
an audience and write themselves dull by coming upon the 
stage without a perfect knowledge of their parts. " Learn 
well your part, there all the honor lies," should be the maxim 
of every aspirant for dramatic fame. No genius will atone 
for want of study, and every author knows the words in 
which he wishes to express his thoughts far better than the 
actor who mars them by interpolations and omissions. Do 
not undertake more than you can perform. In the words of 
one of the most gifted amateurs, it requires a lifetime to 
learn what you cannot do. It is therefore best to under- 
take the simplest pieces, and those which require natural ex- 
pressions of humor. The smaller and more remote the vil- 
lage the more difficult plays they seem to undertake. Some 
one has said that " the actor never lived who thought he 
could not play Hamlet," and in proof of it, comedies, 
and even tragedies which task the utmost resources of the 
greatest theatres, have been attempted by amateurs in little 
village haUs. It is best to select domestic dramas or light 
pieces, which, if thoroughly learned and naturally acted, 
amuse actors and audience in the highest degree, as well 
as give ease of bearing and strengthen the memory. 

The cast of the plays is harder than that of the stiU 
scenes, as it is much harder to classify talent than personal 
appearance. The manager has need of rare tact to keep 
the performers all in good humor, unless all unite to work 



PARLOR AMUSEMENTS. 89 

for the general good, ■without envy and in perfect harmony. 
After a little practice a company soon settles down to work 
and all find their fixed places as heavy fathers, leading ju- 
veniles, or eccentric comedians. 

"We add the names of many plays which are often used 
by these companies, and a full catalogue wiU be sent at 
anytime on application to Happy Hours Company, of whom 
any play published in the world can be procured. 



LIST OF PLAYS SUITABLE FOR PRIVATE 
PERFORMANCES, 



Any of which will be mailed on receipt of the price (15 
cents each), by Happy Hours Company, Publishers, 1^'ew 
York. 

Advice Gratia.— A Farce in 1 Act. By Charles Dance. 
4 Male and 2 Female characters. Costumes, square cut coats, kuee 
breeches, silk stockings, pumps, livery. Scene, a well-furnished 
apartment. Time of representation, forty minutes. 

Afloat and Asliore. — ^A Burlesque Maritime Drama in 3 Acts. 
3"Male and three Female characters. Costumes, burlesque midship- 
man and sailors and modern. Scenes, a drawing-room, deck of a ves- 
sel and an island. Time of representation, forty-five minutes. 

All in der Family.— A Dutch Sketch in 1 Act. By McDer- 
MOTT and Trumble. 4 Male and 2 Female characters. Costumes, axi 
libitum. Scene, exterior and interior. Time of representation, 
thirty minutes. 

Aladdin and the 'Wonderfal I<anip. — ^A Drama c aps 
and downs, for young ladies and gentlemen, in 2 Acts. 6 Male and 3 
FeiAale characters. Mandarin, ladies in waiting, maids of honor, 
ushers, guards, gamins, etc. Costumes elaborate. Scenes, interiors and 
exteriors. Time of representation, one hour. 

Among the Breakers.— A Drama in 2 Acts. Simple cottage 
or hut interior for both Acts. G Male, 4 Female characters. Cos- 
tumes, modern. Time of representation, one hour and a half. 

Another Glass.— A Drama in I Act. By Thomas Morton. 
G Male, 3 Female characters. Costumes, English; modern. A very 
effective temperance play. Scenery necessary. Time of representa- 
tion, one hour. 

Antonjr and Cleopatra Married and Settled. — A 
Burletta in one Act. By Charles Selby. 1 Male and 1 Female 
characters. Costumes gay, rather loud dress, cavalry dress, powdered 
wig for Antony; light cotton dress, fashionable male costume and 
Debardeurs dress for Cleopatra. Scene, interior of a shop (tailors 
and bonnet makers). This is a roaring, rollicking Farce and ends 
with a burlesque danco. Time of ropreseutatiun, furty^fivo miuutos. 



90 



PAELOE AMUSEMENTS 



Anything for a Cliange.— A Petite Comedy in 1 Act. By 
Shirley Brooks. 3 Male and 3 Female characters. Costumes, 
present day. Scene, an .interior. Time of representation, flfty-ono 
minutes. 

: Apple Blossoms. — A Comedy in 3 Acts. By James Albery. 
7 Male and 3 Female characters. A pleasing piece, with rich part 
for an eccentric comedian. Costumes, mouern English. Scenery, 
exterior and interior of inn. Time of representation, two hours and 
twenty minutes. 

Area Belle (The).— A Farce in 1 Act. By "William Brough 
and Andrew Halliday. 3 Male and 2 Female characters. Cos- 
tumes of the present time, and scene a kitchen. Time of representa- 
tion, thirty minutes. 

' Ask No Q,aestions. — A Burletta in 2 Acts. By Charles 
Selby. 7 Male and 3 Female characters. Costumes and scenes 
(interior and exterior) very elaborate. Time of representation, one' 
hour and twenty -five minutes. 

Atclii. — A Comedietta in 1 Act. By John Maddtson Morton. 
3 Male and 2 Female characters. A gem in pleasantry, whose con- 
clusion is irresistibly comic. Costumes of the day. Scene, a taste- 
fully laid out garden. Time of representation, forty minutes. 

Annt Charlotte's Maid. — A Farce in 1 Act. Bv J. Maddi- 
150N Morton. 3 Male and 3 Female charactera. One of the best of 
this prolific humorist's dramatic pieces. Dresses of the period, and 
scene an apartment in a .dwelling .house. Time of representation, 
forty minutes. 

Bardell vs. Piclfwiclc. — A Farcical Sketch in 1 Act. Ar- 
ranged from Charles Dickens. 6 Male and 2 Female characters. 
Uncommonly funny. Affords good chance to " take off" local legal 
celebrities. Costumes, modern. Scene, a court-room. Time of 
representation, thirty minutes. 

Beautiful Forever. — A Farce in'l Act. By Frederick Hay. 
2 Male and 2 Female characters. A spriglitly satirical rebuke to 
those that patronize advertised nostrums. Costumes of the day. 
Scene, a handsome interior. Time of representation, forty minutes. 

Bells (The); or, the Polish Jew. — A romantic moral Drama 
in 3 Acts. By M. M. Erckmann and Chatkain. 9 Male and 3 
Female characters. Costumes, Alsatian, of present date. Scen- 
ery, two interiors and a court-room. Time of representation, two 
hours and twenty minutes. 

Big Banana (The). — A comic Musical Sketch. By Alfred 
B. Sedgwick. In 1 Act. l Male and 1 Female characters. Costumes, 
German emigrant. Scene, exterior. Dialogue, songs and music. 
Time of representation, fifteen minutes. 

Black Sheep.— A Drama in 3 Acts. From EDiiiUND Tates' novel 
of the same name, and arranged for the stage by J. Palgrave Simp- 
son and the author. 7 Male and 5 Female characters. Costumes 
of the present time. Sceneiy, an interior ; gardens at Homburg. 
and a handsome parlor. Time of representation, two and a half 
hours. 

Blow for Blow.— A Drama in a Prologue and 3 Acts. Bv Henry 
J. Byron. 11 Male and 6 Female characters. Full of liomely pathos 
as well as rich humor. Has several excellent parts. Costumes, mod- 
ern. Scenery, interior s of offi ces and_dwelling8. Time^f repreaen- 
tation, tliree hours, j^ ^"^ " '*' 



FOB THE YOUNG FOLKS. 91 

*Blue Beard ; or. Female Cariosity. — A Sensation 
Drama in 2 acts. 6 Male and 2 Female characters. Costumes, Turk- 
ish. . Scene, a room in Blue Beard's castle. Time of representation, 
thirty minutes. 

Boarding School (Tlie).— A Earce in 1 Act. By W. B. Ber- 
KARD. 7 Male and 5 Pemale characters and scholars. Costumes, 
military and modern. Scenes, exterior and interior. Time of rep- 
resentation, one hour. 

Boston Dip (The).— A Comedietta in 1 Act, for 4 Male and 3 
Female characters. Costumes, modem evening dress. Time of repre- 
Bcntation, about thirty minutes. 

Bread on tlie Waters. — A Drama in 2 Acts. 5 Male, 3 Fe- 
male characters. Old man, eccentric old man, leading juvenile man, 
light comedy villain, low comedian, old woman, walking' lady ana 
leading part ; child in 1st Act, young lady in 2d. Time of represen- 
tation, one hour and thirty minutes. 

Breaclx ofProniise (A). — An extravagant Comic Drama in 2 
Acts. By T. W. Robertson. 5 Male, 2 Female characters. A capi- 
tal, very merry piece. Good for amateurs. Time of representation, 
one hour. Scenery, two interiors. Costumes, modern. 

Broken-Hearted Club (The). — A Comedietta. By J. Ster- 
ling Coyne. 4 Male and 8 Female characters. A laughable satire 
on the Women's Rights movement. Costumes, modern English. 
Scenery, a drawing-room. Time of representation, thirty minutes. 

Cabin Boy (Tlie). — ^A Drama in 2 Acts. By Edward Sterling. 
10 Male and 3 Female characters. Costumes, French uniform, sailors, 
Spanish American Slaves dress. 2 Scenes, interiors, open at the 
back and showing the sea. Time of representation, one hour and 
fifteen minutes. Julian (The "Cabin Boy ) was one of Mm. Celeste's 
great characters, and can be made very effective. 

Cabntan So, 93; or. Found in a Four Wheeler. — A 
Farce in 1 Act. By Thomas J. Williams. 2 Male and 2 Female 
characters. A ludicrous piece, with a cabman for the first low com- 
edian, and a stock-broker as eccentric character part. Costumes of 
present day. Scene, a furnished room. Time of representation, 
forty minutes. 

Caste.-T-An original Comedy in 3 Acta. By T. W. Robertson. 
A lively and effective satire upon the times, played successfully iu 
America at Wallack's. 5 Male and 3 Female characters. Costumes, 
modem. Scenery, the 1st and 3d Acts, interior of a neat room; the 
2d a fashionable room. Time of representation, two hours and forty 
minutes. 

Caught by the Cuff.— A farce in 1 Act. By Frederick Hay. 
4 Male and 1 Female characters. An exquisitely ludicrous pro- 
duction, crammed with situations. Costumes of the day. Scene, a 
kitchen. Time of representation, forty minutes. 

Caught in His Ovrn Toils. — A Farce in 1 Act. 5 Male and 
2 Femjue characters. Costumes, knee breches, plaid trousers, loud 
waistcoat, gaiters, very thick shoes, gardener's apron, night dress, 
large slippers, short muslin dress. Scene, a garden. Time of rep- 
resentation, thirty minutes. 

Charity.— A Play in 4 Acts. By W. S. Gilbert. 9 Male and 3 
Female characters. Costumes, modem. Scenes, a boudoir, a draw- 
ing-room, a raorninp room and library. Time of representation, two 
hours and fifteen minutes. 'An excellent play for private performance. 
"Ruth Tredffott " is one of Fanny Davenport's greatest characters. 



90 PARLOR AMUSEMENTS 

Cliampion of Her Sex.--A Farce. Female characters only. 
8 characters, including two Irish cirls and eccentric old lady. 
Plain scene. Time of representation, thirty minutes. 

Cliarming Pair (A).— AFarcein lAct, By Thomas J. "Wil- 
liams. 4 Male and 3 Female characters. Costumes of the present 
day. Scene, a handsomely furnished apartment. ,Time of represen- 
tation, forty minutes. 

Clieckmate.— A Comedy in 2 Acts. By Andrew Hallidat. 
6 Male and 5 Female characters. Costumes, English, of the present 
day. Scenes, interior of a country hotel, and exterior of same, with 
landscape. Time of representation, one hour and a half. 

Chops of the Channel (The),— An orimnal Nautical Farce in 
1 Act. By Frederick Hay. 3 Male and 2 Female characters. A 
very mirth exciting and whimsical composition. Costumes of the 
present day. Scene, the saloon of a steamer. Time of representation, 
forty minutes. 

Close Shave (A).— A Farce in 1 Scene. 6 Male characters. 
Walking gent, eccentric old man, Irishman, Negro, fop and utility. 
Time of representation, twenty minutes. 

Coals of Fire. — Six Male characters. Eccentric old man, walk- 
ing gentleman, three school-boys, and an Irishman. Time of repre- 
sentation, twenty minutes. 

Cousin Florence. — A Comedietta in 2 Acts. 4 Male and 7 Fe- 
male characters. Costumes, modern. Scene, a morning room. Time of 
representation, thirty minutes. 

Cupboard Lio-ve. — A Farce in 1 Act. By Frederick Hay. 2 
Male and 1 Female characters. A good specimen of broad comedy. 
Dresses modern, and scene, a neatly furnished apartment. Time of 
representation, twenty minutes. 

Cnpid^s Eye-Glass.— A Comedy in 1 Act. By Thomas Pic- 
ton. 1 Male and 1 Female characters. Adapted for amateur per- 
formance. Costumes of the day, and scene, a drawing-room. Time 
of representation, twenty-five minutes. 

Cup of Tea (A). — A Comedietta in 1 Act. Translated from the 
French of " line Tasse de Th6," by Charles Nuitier and J. Derlev. 
3 Male and 1 Female characters. An exquisite petty comedy, well 
adapted for amateur representation. Costumes, modern. Scene, 
handsome drawing-room. Time of representation, thirty minutes. 

Cut Off With a Shilllns.— A Comedietta in 1 Act. By 
S. Theyre Smith. 2 Male and 1 Female characters. Scene, a 
drawing-room. Time of representation, twenty-five minutes. 

Cyril's Success.— A Comedy in 5 Acts. By Henry J. Byron. 

10 Male and 4 female characters. Costumes, modern. Scenery, four 
interiors. Time of representation, three hours and twenty minutes. 

Daddy Gray. — A Serio-comic Drama in 3 Acts. By Andrew 
Halliday. 8 Male and 4 Female characters. One of the author's 
most effective and natural compositions. Dresses of the present day. 
Scenery, interior of a cottage, a lawyer's office, street and archway and 
cottage, with landscape. Time of representation, two hours. 

Dandelion's Dodges.— A Farce in 1 Act. By Thomas J. 
"Williams. 4 Male and 2 Female characters. A rattling piece. The 

Sart of Dandelion excellent for a low comedian. Costumes ot the day. 
ccnery, a picturesque landscape. Time of representation, fifty 
minutes. 



FOE THE YOUNa FOLKS. 93 

Daneing Barber (THc).— A Farce in 1 Act. By Charles 
Selby. 7 Male and 3 Female characters. Costumes, fashionable 
evening, old man's, tights, pumps, silk stockings, powdered hair and 
modern. Scenes, a plain room and handsome drawing-room. Time 
of representation, one hour. 

Dark Deeds. — A Burlesque Sensational Play in 3 Acts. 2 Male 
and 2 Female characters. Costumes, modern. Scene, a drawing 
room. Time of representation, twenty -five minutes. 

David Garriclc.— A Conjedy in 3 Acts. By T. W. Eobertsok. 
8 Male and 3 Female characters. Most effectively performed by Mr. 
Sothern in England and in America with decided success. Costumes, 
court dresses. Scenery, two interiors antiquely furnished. Time of 
representation, one hour and three-quarters. 

Dearest Mamma. — A Comedietta in 1 Act. By WALTElt 
Gordon. 4 Male and 3 Female characters. Costumes, modem and 
ecenc, a drawing-room. Time of representation, one hour. 

Dearer tban Life. — A Serio-comic Drama in 3 Acts. By Henrv 
J. Byron 6 Male and 5 Female characters. An effective piece, 
which could be readily performed by amateurs with success. Cos- 
tumes, English of the day. Scenery, two interiors, easily arranged. 
Time of representation, two hours. 

Decree of Divorce (Tlie).— A Musical Sketch in 1 Act. By 
Alfred B. Sedgwick. 2 Male and 2 Female characters. Costumes, 
village peasants of the time of the French Eevolution, 1798. Scene, 
a village in France. Dialogue, songs and music. Time of represen- 
tation, thirty minutes. 

Deeds of Dreadful Note. — A Dramatic Tale of Terror in 1 Act. 
]^ Alfred Dubois. 6 Male andl Female characters. Costumes, 
If ewmarket coat, white cord breeches, top boots, Hessian boots, green 
coat and gilt buttons, flowered vest, judges, brigands, policemen, short 
frilled nightgown and cap. Scene, a garret with window at back 
opening on a roof. Time of representation, one hour. This is a roar- 
ing farce. 

Doing for tlie Best.-— A Domestic Drama in 2 Acts. By M. 
RoPHiNO Lacy. 5 Male and 3 Female charactei-s. An effective act- 
ing piece, popular in London. Costumes of the day. Two scenes, one 
interior of cottage, the other a drawing-room. Time of representa- 
tion, one hour and a half. 

Dollars and Cents.— An original American Comedy in 3 Acts. 
By L. J. HOLLENIDS, as performed by the Murray Hill Dramatic As- 
sociation. 9 Male and 4 Female characters. Costumes modem, and 
Bcenery, three interiors and one garden. Time of representation, two 
and three-quarter hours. 

Dot Mad Tog.— A Dutch Sketch in 1 Act. By McDermott and 
Trumble. 2 Male and 2 Female characters. Costumes, modern, Ger- 
man emigrant. Scene, a kitchen. Time of representation, twenty 
minutoa. 

Dot Madrlmonial Adverdisement. — ^A Dutch Sketch in 1 
Act. By McDermott and Trumble. 5 Male and l Female char- 
acters. Costumes ad libitum. Scene, a room with table set for 
breakfast. Time of representation, twenty-five minutes. 

Dot Q,nied liOtgings. — A Dutch and Irish Sketch in 1 Act. 
By McDermott and Trumble. 5 Male and 1 Female characters.. 
Costumes ad libitum. Scene, a room plainly furnished. Time of 
representation, twenty minutes. 



94 PABLOB AMUSEMENTS 

Do\irn by tlie Sea.— A Drama in 2 Acts. 6 Male, 3 Female char- 
acters. Two old men, juvenile man, low comedian, dandy, French- 
man, old woman, walking lady and soubrette. Time of representation, 
one hour and twenty minutes. 

Drop Too Mncli (A). — A Farce in 1 Scene. 4 Male, 2 Female 
characters. Two Yankees, Irishman, walking gent, old woman and 
Yankee girl. Temperance farce. Time ot representation, thirty 
minutes. 

Dacliess of Dublin (Tbe). — A Farce. 6 Male, 4 Female char- 
acters. Costumes modem. Scene, plain. Time of representation, 
about thirty minutes. 

Dutcbman in Ireland. — A Comic Sketch in I Act. 3 Male 
characters (1 Dutch and 2 Irish, 1 disguised as an old woman). Cos- 
tumes, semi-military for Hanb, tattered and patched for Gerald, and 
chintz bed-gown and patched petticoat for Pheun. Scene, interior of 
a ruined house. Time of representation, twenty minutes. 

Kasy Sbaving— A Farce in 1 Act. By F. C. Buunand and 
Montague Williams. .5 Male and 2 Female characters. A neat 
and effective piece, with excellent parts for low comedian and sing- 
ing chambermaid. Costumes of the days of Charles II of England. 
Scene, a barber's shop. Time of representation, twenty-five minutes. 

East Ijynne.^A Drama in 5 Acts. (Adapted from Mrs. 
Henry Wood's novel). 8 Male, 7 Female characters. Scenes, 
chambers and landscapes. Costumes, modern. This piece has been 

Eerformed throughout the United States by Mrs. D. P. Bowers, Miss 
lucille Western and other well-known stars. Time of representation, 
three hours. 

Eligible Situation (An), An Eccentricity in 1 Act. By 
T. Archer and J. C. Brough. 3 Male and 6 Female characters. 
Costumes, modern. Scene, a drawing-room. Time of representation, 
forty minutes. 

Enlisted for tbe War; or, Tbe Home Guard. — A Pat- 
riotic Drama in 3 Acts, founded on the late rebellion. So con- 
Btmcted that it can be played in 2 Acts by the omission of the 2d. 7 
Male, 3 Female characters. Males : juvenile hero, eccentric old man, 
light comedy, viUaui ; low comedy part— neero and military charac- 
ters. Females : light comedy — old lady ana walking lady. Scenes 
easily arranged. Time of representation, about two hours. 

Everybody's Friend,— A comedy in 3 Acts. By J. Ster- 
ling Coyne. 6 Male and 5 Female characters. Costumes, modem, 
and scenery 3 interiors. Time of representation, two and a half hours. 

Fast Family (Tbe), A Comedy in 4 Acts. By B. Webster, 
Jr. 11 Male and 7 Female characters. Costumes, modern and fash- 
ionable. Scenes, interiors well furnished. Time of representation, 
tlu'ce hours. An excellent play for private performance. 

Fannily Pride— A Comedy in 5 Acts. By R. Sullivan. 6 
Male and 4 Female characters. Costumes, modem, fashionable, fancy 
and livery. Scenes, a handsomely furnished drawing-room, a saloon, 
richly furnished, with large old-fashioned family pictures; a drawing- 
room, well furnished, backed by a conservatoiy ; an oak lobby. Time 
of representation, two hours and thirty-five mxnutes. 

Fairy Freaks.— A Fantastic Play in 3 Acts. 2 Male and d 
Female characters. Costumes, fairy, of burlesque character. 
Scene, exterior and aterior. Time of representation, twenty-fire 
minutes. "^^ 



FOE THE YOUNG FOLKS. 95 

Fearful Tragedy in the Seven Dials (A).— A Farcical 
Interlude in 1 Act. By Charles Selby. 4 Male and 1 Female 
characters. A very laughable piece, easily produced; certain to 
bring down the house. Costumes of the day. Scene, a genteelly 
furnished bed- room. Time of representation, forty minutes. 

Fernande; or, Forglvo and Forget.— A Drama in 3 
Acts. By YicTORiEN Saudou. 11 Malo and 10 Female characters. 
This is a correct version of tlie celebrated play as performed in Paris 
and adapted to the English stage by Henry L. Williams, Jr. Cos- 
tumes, modern French. Scenery, four interiors. Time of represen- 
tation, three hours. 

Fifth Wheel (The).— A Comedy in 3 Acts. 10 Male and 2 Fe- 
male characters. An excellent American production, easily man- 
aged. Costumes, modern. Scenery not complicated. Time of repre- 
sentation, about one hour and three-quarters. 

Fireside Diplomacy.— A Comedietta in 1 Act. By Chas. S. 
Cheltnam. 2 Male and 2 Female characterss Costumes, modern. 
Scene, a drawing-room elegantly furnished. Time of representation, 
thirty minutes. 

First liove,— A Comedy in 1 Act. By Eugene ScuraE. Adapt- 
ed to the American stage by L. J. Hollenius. 4 Male and 1 Female 
characters. Suitable for amateurs. Modern costumes, and scene, 
a parlor. Time of representation, forty-five minutes. 

Foiled; or, a Strusgle for Life and Liherty.— A 
Drama in 4 Acts. By O. wT Cornish. 9 Male and 3 Female char- 
acters. Costumes, modern. Scenery, a variety of scenes required, but 
none elaborate. Time of representation, three and a half hours. 

Founded on Facts.— A Farce in 1 Act. By J. P. Wooler. 
4 Male and 2 Female characters. A favorite acting piece, easily put 
on the stage and never failing in success. Costumes of the present 
day. Scene, a hotel parlor. Time of representation, thirty-five 
minutes. 

Freedom of the Press. — A Farce in one Scene. 8 Male char- 
acters. Walking gent, 4 eccentric Irishmen, Taxikee, stage-struck 
printer's devil. Time of representation, thirty minutes. 

Frog Prince (The).— A Fairy Play in 1 Act. 2 Male and 1 
Female characters. Costumes, doublet, hose, puffed breeches, Span- 
ish cloak, regal robes, long mantle and. train, etc. Scene, a wood 
and apartment in a palace. This is better with scenery as described, 
but can be easily arranged for a parlor performance. Time of rep- 
resentation, twenty minutos. 

Game of Billiards (A).— A Temperance Sketch in 1 Act. By 
McDermott and Trumble. 1 Male and 2 Female characters. Cos- 
tumes, modern. Scene, easy. Time of representation, twenty 
minutes. 

Garrick Fever (The).— A Farce in 1 Act. By J. R. Planche. 
7 Male and 4 Female characters. Costumes of the year 1742— court 
dresses, regimentals, velvet trains, etc. Scenery, a plain interior. 
Time of representation, forty-five minutes. 

Gay Old Man Am I (A). — A Musical Monologue. By Alfred 
B. Sedgwick. 1 Male character. Costume, an old fop. Scene, a street. 
This is a short speaking part with two songs and the music. Time of 
representation,, twenty minutes. 

Gentlemen of the Jury.— Farce for 12 Male characters. 
Scone, plain room. Costumes, modern. Time of representation, 
twenty minutes. 



96 PABLOE AMUSEMENTS 

Girls ojf the Period (The). —A Comedietta in 1 Act. 4 Male 
and 3 Female characters. Costumes, modern. Scene, a drawing- 
room. Time of representation, twenty-five minutes. 

Goose tvitli tlie Golden Eggs (The), — A Farce in 1 Act. 
By Augustus Mayhew and Sutherland Edwards. 5 Male and 3 
Female characters. Gay, rollicking, full of incessant action, having 
three of the most comical characters imaginable. Costumes of tho 
present period. Scene, a la^'yer's office. Time of representation, 
forty -five minutes. 

Go to Putney.— A Farce in 1 Act. By Harry Lemon. 4 
Male and 3 Female characters. Excellent for amateurs. Costumes of 
the day. Scene, a drawing-room. Time of representation, forty-five 
minutes. 

Great Elixir (Tlie). — A Farce in 1 Scene. 9 Male characters, 
including ecpentric comedy, Irishman, two walking gents, deaf man, 
nervous gent. Time of representation, thirty minutes. 

Greatest Plagne in Life (Tlie). — A Farce in 1 Scene. 8 
Female characters, including old lady, Irish giii and Yankee girL 
Time of representation, twenty minutes. 

Grecian Bend (The). — A Farce in 1 Scene. 7 Female char- 
acters, including old lady, Irish girl and school-girls with disguises. 
Time of representation, twenty minutes. 

Gray Mare (A).— A Comedietta in 1 Act. By B. "Webster, Jr. 
2 Male and 2 Female characters. Costumes, simple. Scene, a well 
furnished room. Time of representation, one hour. 

Happy Dispatch (The).— A Japanese Opera BoufTe in 1 Act. 
By Alfred Thompson, 3 Male and 2 Female characters. Cos- 
tumes, more or less Japanese. Scene, a Japanese shop. This can bo 
very easily aiTanged in a parlor. Dialogues, songs, choruses and 
dance. Very funny Time of representation, forty -five minutes. 

Happy Pair (A).— A Comedietta in 1 Act. By S. Theyre Smith. 
1 Male and 1 Female character. A neat Dramatic Sketch of a con- 
jugal misunderstanding. Modem dresses. Scene, a drawing-room. 
Time of representation, twenty minutes. 

Hard Case (A).— A Farce in 1 Act. By Thomas Picton. 2 
Male characters. A most ludicrous piece for 2 performers. Cos- 
tiunes of the day. Scene, an interior. Time of representation, thiity- 
five minutes. 

HarlequinJIiittle Red Riding Hood; or, The "Wicked 
Wolf and tne Wirtaous Wood-Cutter. — A Juvenile Pan- 
tomime in 1 Act. By Tom Hood. 2 Male and 3 Female charac- 
ters. Costumes, wood-cutter, old man, Red Riding Hood, old wo- 
man, wolf, harlequin, clown, pantaloon, columbine, fairy. Scenes, 
exterior of cottage, forest glade, interior of cottage, street with shops. 
This scenery may seem ditficult, but directions are given by which it 
can be very easily arranged with a little paint, newspapers and 
lathes. The costumes are also very easily made. The above Panto- 
mime was actually written and put on the stage (in a parlor), fully 
appointed with dresses and scenery, in two days by three people. 
Time of representation, forty-five minutes. 

Hasty Conclnsion (A).— A Burletta in 1 Act. By EliZA 
Planche. 5 Male and 1 Female characters. Costumes, French abbe, 
French uniform, German blacksmith and French peasant girl. 
Scene, interior of a cottage. Time of representation, forty minutes. 

Henry Dunbar; or, A Daughter's Trialst— A Drama 






FOB THE YOUNG FOLKS. , 97 

in 4 Acts. By Tom Taylor. 10 Male and 3 Female characters. 
One of the best acting: plays of the day. Costumes of the period. 
Scenery, modern English. Time of representation, three hom-s. 

He's a Liiiuatsc.— A Farce in 1 Act. By Felix Dale. 3 
Male and 2 Female characters. A sprightly, laug"hter- provoking pro- 
duction. Modern dresses, and scene, a di'aVing-room. Time of rep- 
resentation, forty minutes. 

His First Brief, — A Comediatta in 1 Act. By Sidney Daryl. 

3 Male and 2 Female characters. Costumes, modern. Scene, a sit- 
ting-room neatly furnished. Time of representation, thirty minutes. 

His O-wn Enemy. — A Farce in ] Act. By the author of " Tho 
Happy Pair." 5 Male and 1 Female characters. An exceedingly pleas- 
ant, witty piece. Costumes, modern. Scene, a handsome parlor. 
Time of representation, fifty -five minutes. 

Home.— A Comedy in 3 Acts. By T. TV. Robertson. 4 Male, 3 
Female characters. A charming piece. Needs but a small company. 
Every character very good. Costumes, modern. Only one sceno 
throughout the play. Time of representation, two hours. 

House liold Fairy (A).— A Domestic Sketch in 1 Act. By 
Francis Talfodrd. 1 Male and 1 Female character. A gem in its 
line; artistic, dramatic and very natural. Modern costumes, and 
scene, a poorly furnished apartment. Time of representation, twenty- 
five minutes. ' 

How to Settle Accounts "witli Your iJanndress. — A 
Farce in 1 Act. By J. Sterling Coyne. 5 Male and 2 Female char- 
acters. Costumes, modern, page's suit, blouse, leggins. etc. Scene, 
a tailor's show-room, opening at the back to an inner I'oom. Time of 
representation, fifty minutes. 

Humors of the SIrilte. — A Farce in 1 Scene. 8 Male char- 
acters, including old man, deaf gent, Irishman, fop, "Mose.'' Time 
of representation, twenty minutes. 

Hypocliontlriac (Tlie). — 5 Male characters, an eccentric old 
man, his two sons, a Yankee and an Irishman. Time of representa- 
tion, fifteen or twenty minutes. 

I'll Tell Your Wife.— A Farce in 1 Act. By "W. S. Webster. 

4 Male and 2 Female characters. Costumes, modern. Scene, room 
plainly furnished. Time of representation, thirty-five minutes. 

I liove Your Wife.— A Musical Sketch in 1 Act. By Alfred 

B. Sedgwick. I Male and 1 Female characters. Costumes, modern. 
Scene, a breakfast pai-lor. Dialogue, songs and music. In part of this 
play tlie woman assumes male costume, a fashionable swell. Time of 
representation, thirty minutes. 

I'm not Me.silf at All.— An original Irish Stew in 1 Act. By 

C. A. Maltby. 3 Male and 2 Female characters. Costume of pres- 
ent day, undress uniform, Irish peasant and Highland dress. Sceno, 
u room. Time of representation, twenty-eight minutes. 

In for a Holiday.— A Farce in 1 Act. By F. C. Bcrnand. 2 
Male and 3 Female characters. Costumes of the period, and scene, 
an interior. Time of representation, thirty-five minutes. 

In the Wrong House.— A Farce in 1 Act. By Martin 
Becher. 4 Mule and 2 Female characters. A very justly popular 
piece. Two of the Male characters are excellent for light and low 
comedian. Good parts, too, for a young and old lady. Costumes, 
modern. Sceiieiy, an ordinary room. Time of representation, twenty- 
fivo minutes. 



93 FABLOB AMUSEMENTS 

Ingomar;or,Tlie Noble Savage— An Awful 'Warning in 1 
Act. By E.. liEED. 16 Male and 2 Female characters. Costumes, 
burlesque classical. Scenes, market-place, camp in the woods, a pub- 
lic square. The scenes can be left entirely to the imag-ination of tlie 
audience if the performers wish. Time of representation, about fifty 
minutes. 

IrisH Dragoon; or, "^Vartls in CHjancery. — ATarceinl 
Act. By Chakles Selby. 5 Male and 3 Female characters. Cos- 
tumes, eccentric trousers, paletot, Hessian boots, Rob lioy plaid 
trousers, shepherd's plaid shooting- jacket, modern dress, for the men; 
fashionable Avalkiug dress, polka pelisse, etc., for the women. Sceue, 
a coixntiug-house. Time of representation, fifty minutes. 

Irish Engagement. (An).— A Farce in 1 Act. By W. Watts. 
4 Male and 2 Female characters. Costumes, military, livery, top boots, 
nankeen pants, stuff gown, Irish cap, etc. Scene, a room" plainly fur- 
nished. Time of representation, forty -five minutes. 

I Shall Invite thf; Major— A Parlor Comedy in 1 Act. By 
G. vox MosER. Containing 5 characters, 4 Male and 1 Female. A 
very pleasing little play, with good parts for all. Very bright and 
witty. Costumes, modern. Scene, a handsome interior. Time of 
representation, forty minutes. 

J nek the Giant liillcr— A Fairy Play in 1 Act. 4 Male 
and 3 Female characters. Costumes, Knickerbocker suit, cap and 
feathers, short coat, etc., for Jack, any grotesque dress for Giant, 
neglige dress for ladies. Scene, a plain room. Time of representa- 
tion, twenty minutes. 

Jack Liong. — A Drama in 2 Acts. By J. B. Johxstoxk. 9 
Male and 2 Female characters. Costumes of the frontiers. Scenery 
illustrative of localities on the Texan frontier. Time of representa- 
tion, one hour and twenty minutes. 

Joy is Dangerous.— A Comedy in 2 Acts. By James Mor- 
TlMEU. 3 Male and 3 Female characters. Costumes, modern French. 
Scenery, two interiors. Time of representation, oue hour and forty- 
five minutes. 

Katharine and Petrnchio; or. The Shnmingof the 
True. — In 1 Act. By J. A. Sterky. 5 Male and 3 Female charac- 
ters. Costumes, early Italian combined with modern English. 
Scenes, hall, state-room, and kitchen of a palace and villa of Petruchio. 
Time of representation, forty-five minutes. 

Kind to a Fa«lt. — An Original Comedy in 2 Acts. ByWnx- 
lAM Brough. 6 Male and 4 Female characters. A well written 
composition with well drawn characters. Costumes of the present 
day. Scenery, two elegantly furnished interiors. Time of represen- 
tation, one hour and twenty minutes. 

Last Drop (The).— A Temperance Drama in 1 Act. By John 
n. Delafield. 7 Male and 3 Female cliaracters. Costumes, modern. 
Scenes, a plain room, a street and a garret. Time of representation, 
twenty-five minutes. 

Liast I^ily (The).— A Comedietta in 1 Act. By Clement "W. 
Scott. 3 Male and I Female characters. Costumcs,"Fi-cnch of 1793. 
Scene, a garden. Time of representation, thirty minutes. 

JLast Loaf (Th<-). — A Drama in 2 Acts. 5 Male and 3 Female 
characters. Leading man, juvenile, two low comedians, villain, 
leading lady, walking lady and soubrette. This drama is intensely in- 
teresting as a temperance drama. Time of representation, one hour 
and thirty minutes. 



FOB THE TOUXa FOLKS. 99 

TjSlw Allo'ws It (The). — A Musical Monologue in 1 Act. By 
Alfred B. Skdgwick. 1 Male character. Costume, shabby genteel. 
Scene, a street. Song and music. Time of representation, ten minutes. 

JLet Tliose Langli "Who Win. — A Musical Sketch in 1 Act. 
By Alfred B. Sedgwick. 1 Male and 1 Female characters. Cos- 
tumes, modern. Scene, elegantly furnished room. Dialogue, song and 
music. Time of representation, twenty minutes. 

lieap Year. — A Musical Duality. By Alfred B. Sedgwick. 
The music adapted from Oflfenbach's "GencTieve de Brabant." 1 
Male and 1 Female characters. Costumes, modern. Scene, a hand- 
some parlor. Time of representation, twenty minutes. 

l^ecdle Mistake (A). — A Dutch Sketch in 1 Act. By McDer- 
MOTT and Trdmble. '3 Male and 2 Female characters. Costumes, ad 
libitum. Scene, a street, house with practicable door in flat. Time of 
representation, twenty minutes. 

Ijiar (Tlie).— A Comedy in 2 Acts. By Samuel Foote. 7 Male 
and 2 Female characters. One of the best acting plays in any lan- 
guage. Costumes, embroidered court dresses, silk saeques, etc.; still 
the modern dress will sutfice. Scenes, one a park, the other a draw- 
ing-room Time of representation, one hour and twenty minutes. 
This edition, as altered by Charles Mathews, is particularly adapt- 
ed for amateurs. 

Liittle Bro^vn Jug (The). — ADramainSActs, with a" Tem- 
perance" plot. 5 Male and 3 Female characters. Principal charac- 
ters, an eccentric Yankee, good old man, two "juveniles, " genteel 
"villain." Female parts, old lady, Yankee girl and "juvenile." 
Plain rooms. Time of representation, about one hour and thirty min- 
utes. 

Little More Cider (A). — 5 Male and 3 Female characters. 
Two Yankees, walking gent, Dutchman and negro, old woman and 
two walking ladies. Temperance piece. Time of representation, 
thirty minutes. 

Little Rebel (The).— A Farce in 1 Act. By J. Sterling 
Coyne. 4 Male and 3 Female characters. An excellent piece for a 
sprightly young actress. Dresses and scenery of the present day. 
Kasy of production. Time of representation, about forty-five min- 
utes. 

Lit<le Red Riding Hood.— A Fairy Play in 1 Act. 3 Male 
and 3 Female characters. Costumes, wolf's mask, tunic, short wide 
trousers, long boots, mob cap, quilted petticoat, etc. Scene, interior 
and exterior of cottage. Time of representation, twenty-five minutes. 

liittle Silver Hair and the Three Bearg. — A Pastoral 
Drama in I Act. 2 Male and 2 Female characters. Costumes, bear's 
head mask, top boots, flowered waistcoat, "girl of the period" dress, 
little girl's dress. Scene, wood and interior of cottage. Time of rep- 
resentation, fifteen minutes. 

Little Ruby; or. Home Je^wels. — A Domestic Drama in 3 
Acts. By J. J. Wallace. 6 Male and 6 Female characters. This 
drama is at once alFecting and effective. Little Rdut fine persona- 
tion for yoimg prodigy. Costumes, modern. Scenery, interior of 
dwelling and gardens. Time of representation, two hours. 

Locked In.— A Comedietta in 1 Act. By J. P. Wooler. ' 2 
Male and 2 Female characters. Costumes of the period. Scene, a 
drawing-room. Time of representation, thirty minutes. 

Locked ill With a Lady_A Sketch from Life. By H. R. 



lOa PARLOR AMVSEMENTS 

Addison. ^ 1 Male and 1 Female characters. A very pleasing and 
humorous interlude. Costumes of the day, and scene, a bachelor's 
apartment. Time of representation, thirty -five minutes. 

Locked Oat. — A Comic Scene, illustrative of what may occur 
after dark iu a great metropolis. By Howaud Paul. 1 Male and 2 
Female characters, with others unimportant. Scene, a street. Cos- 
tumes, modern. Time of representation, thirty minutes. 

I.odgei*s and Dodgers. _A Farce in 1 Act. By Fredkrick 
H.\Y. 4 Male and 2 Female characters. Costumes of tlie present 
time. Scene, a furnished apartment. Time of representation, twenty- 
live minutes. One character a Yorkshire farmer. 

lionely Pollywog of llie Mill Pond (Tlie). — A Sangruin- 
ary Drama in ] Act. By M. T. Head. 3 Male and 1 Female characters. 
Costumes, burlesque Spanish cavalier. Scenes, a mill poud, a gloomy 
glen and an interior of a hut. Uproariously funny. Time of representa- 
tion, fifteen minutes. 

Liove.— A Burlesque in 1 Act. 3 Male and 3 Female characters. 
Costumes, modern. Scenes, a drawing-room and a picnic ground. 
Time of representation, thirty minutes. 

liOve otn. Bonnet (A).— .5 Female characters; old lady, 2 young 
girls, inquisitive old lady, Irish servant. Time of representation, 
twenty minutes. 

I^oves of Liittle Bo-Pecp (Tlie). — ^In 1 Act. 5 Male and 4 
Female characters. Costumes, square-cufc coats, knee breeches, flow- 
ered waistcoats, silk stockings, shoes aud buckles, farmer's dress, 
flowered gown, quilted petticoats, traveling dress, shepherdess' hat 
and ribbons, etc. Scenes, kitchen and a field. Time of representation, 
forty minutes. 

Lucy's liOve Iicsson. — A Comedietta in 1 Act. By John 
Latey, Jr. 2 Male and 2 Female characters. Costumes, modern. 
Scene, a drawing-room. Time of representation, fifteen minutes. 

Lyi-ical Iiover. — A Comedietta in 1 Act. By H. S. Clark. 1 
Male and 1 Female characters. Costumes, modern. Scene, an ele- 
gantly furnished drawing-room. Time of representation, twenty-five 
minutes. 

Mad Astronomer (A). — A Musical Sketch in 1 Act. By 
Alfred B. Sedgwick. 2 Male and 1 Female characters. Costumes, 
modern. Scene, behind the scenes of a public hall or theatre. Time 
of representation, thirty minutes. This piece consists of dialogue 
and songs with the music. ■ 

Man-»vilh a Demijohn (Tlie).— A Farce in 1 Scene. 4 Male 
characters. Yankee, two low comedians and negro. Time of rep- 
resentation, twenty minutes. 

Maria and Magdalena. — ^A Play in 4 Acts. By L. J. HoL- 
LENlus. 8 Male and 6 Female characters. An uniformly good stock 
company is alone needed to properly pi'oduce this charming piece. 
Costumes, modern. Scenery, fine interiors and beautiful gardens. 
Time of representation, three hours. 

Marriage at Any Price.— A Farce in 1 Act. By J. P. 
TVOOLER. 5 Male and 3 Female characters. A decided success in 
London. Costumes of the day. Two scenes, a plain chamber and a 
garden. Time of representation, thirty minutes. ^ 

Marry in Haste and Ropcnt at Leisure. — A Bombastic 
Play in 1 Act. 3 Male and 3 Female characters. Costumes, morn- 




FOB THE YOUNG FOLKS. 101 

ing", slightly exaggerated. Scenes, a draTving-room, a dining-room 
and outside of a court-house. Time of representation, twenty -five min- 
utes. 

Blaster Jones' Birtliclay. — A Farce in 1 Act. By JOHX 
Maddison Morton. 4 Male and 2 Female characters. A very 
amusing and effective composition, particularly suited to amateurs. 
Dresses of the day, and scene, a plain interior. Time of representa- 
tion, thu'ty minutes. 

Matched but not Mated; or, a. Lnnatic *^Ma]gre 
Ii«i." — A Farce in 1 Act. 4 Male and 2 Female characters. Cos- 
tumes, modern. Scene, a drawing-room plainly furnished. One of tho 
male characters assumes a woman's dress in one part of the play. 
Time of representation, thirty minutes. 

Mand's Peril — A Drama in 4 Acts. By Watts Phillips. 5 
Male and 3 Female characters. Strong and sensational. Costumes of 
English country life of the period. Scenery, not elaborate. Time of 
representation, two hours and a half. 

Medical Man (A).— A Comedietta in 1 Act. By TV. S. Gil- 
bert. 2 Male and 1 Female characters. Costumes, modern. Scene, 
an untidy and shabbily furnished apartment. Time of representation, 
forty minutes. 

Middle Temple (The); or, Whicli is My Son 1 — A Farco 
in 1 Act. By E. B. Peake. 8 Male and 3 Female characters. Cos- 
tumes, old gentleman's suit, knee breeches, livery, Wellington boots, 
old-fashioned barber's coat, silk stockings, worsted stockings, etc.; sar- 
cenet dress, morning dress, turban, or toque, etc., for women. Scene, 
plain I'oom. Time of representation, one hour. 

MidnigHtWafcli (The). — A Drama in 1 Act. By J. Mad- 
DisoN Morton. 8 Male and 2 Female characters, A successful 
little play. Costumes of the time of the French Eevolution of 1795. 
Scene, the platform of a fortress. Time of representation, one hour. 

Miriann's Crime. — A Drama in 3 Acts. By H. T. Graven. 5 
Male and 2 Female characters. One of the best acting plays, and 
easily put on the stage. Costumes, modern. Scenery, modern En- 
glish interiors, two in number. Time of representation, two hours. 

Mischievous Boh. — A Comic Drama in 1 Act. 6 Male char- 
acters. Costumes, old pants torn, linen check jacket, corduroy pants, 
pilot coat, carpenter's dress, fashionable di'css, liveiy. Scene, room 
m a cottage. Time of representation, thirty minutes. 

Miseries of Human liife (The). — A Farce in 1 Act. By 
Benjamin Webster. 2 Male and 2 Female characters. Costumes, 
nankeen trousers, morning gown, body coat, great coat, monkey 
jacket, etc. Scene, plain room. Time of representation, fifty-eight 
minutes. 

Model of aWife (A).— A Farce in 1 Act. By Alfred Wigan. 
3 Male and 2 Female characters. Most amusing in conception and 
admirably carried out. Costumes of the day. Scene, a painter s 
studio. Time of representation, thirty-five minutes. 

Money Malcrs the Man.— A Drama in 1 Act. By Arthur 
Sketchley. 4 Male and 3 Female characters. Costumes, modern. 
Scene, a drawing-room. Time of representation, thirty minutes. 

Monsienr Pierre— A Pathetic Drama in 1 Act. 2 Male and 3 
Female characters. Costumes, modern, except that Monsiedu 
Pierre should be dressed in very old clothes. Scene, agaxden. Timo 
of representation, thirty •five minutes. 



102 PABLOB AMUSEMENTS 

Mr. Scroggins; or. Change of Name. — A Farco in 1 
Act. By AViLLiAsi Hancock. 3 Male and 3 Female characters. A 
lively piece. Costumes of the present day. Scene, a drawing-room. 
Time of representation, forty minutes. 

BIr. X.— A Farce in 1 Act. By Sydney Rosexfkld. 3 Male and 

3 Female characters. An excruciatingly funny little piece, as full of 
life as i^rime Cliquot. Costumes, modern. Scene, a sitting-room. 
Time of representation, fifty minutes. 

Mrs. Sairey Gamp's Tea and Turn Ont. — A Bozzian 
Sketch in 1 Act. By Bexj. Webster. 4 Male and 4 Female charac- 
ters. Costumes, brown and black coats, light waistcoats, striped 
pants, blue and white spotted gown, fancy shawl, flowered gown, 
Walking-dress, etc. Scenes, Sweedlepipe's shop, room at Betsey 
Priggs' and Mrs. Gamp's room. Time of representation, fifty min- 
utes. Very funny. 

Mulcliay's Cat.— An Irish Sketch in 1 Act. By McDermott 
and Trumble. 2 Male and 1 Female characters. Costumes, ad 
libitum. Scene, a kitchen. Time of representation, twenty minutes. 

My Bx-otlier's Keeper.— Drama in 3 Acts. 5 Male and 3 
Female characters. First and second acts a counting house, third a 
parlor. Costumes, modern. Easy to produce. Time of representa- 
tion, two hours. 

My Friend in the Straps.— A Farce in 1 Act. By Charles 
Selby. 5 Male atnd 2 Female characters. Costumes, morning coat, 
dress coat, short paletot, large pattern plaid pants, fancy waistcoat, 
higt-lows, coachman's frock; evening dress and Fi'ench cap for 
ladies. Scene, a room elegantly furnished. Time of representation, 
forty-five minutes. This play has a good part for an Irish, light or 
eccentric comedian. 

My Uncle the Captain,— A Farce for 6 Male characters, 
including comic old man, Yankee, negro, etc. Costumes, modern. 
Time of representation, about twenty minutes. 

My Uncle's Suit. — A Farce in 1 Act. By Martin Becher. 

4 Male and 1 Female characters. Has a jolly good low comedy part, a 
fine light comedy one, and a brisk, pert lady's maid. Costumes, 
modern. Scenery, a well furnished sitting-room. Time of represen- 
tation, thirty minutes. 

My Wife's Diary,— A Farce in 1 Act. By T. "W. Bobert- 
BON. 3 Male and 1 Female characters. Costumes, modern French, 
and scene, a drawing-room. Time of representation, fifty minutes. 

My "Wife's Ont.— A Farce in 1 Act. By G. Herbert Bod. 
WELL. 2 Male and 2 Female characters. This piece had a success- 
ful run at the Covent Garden Theatre, London. Costumes, modern, 
and scene, an artist's studio. Time of representation, forty minutes. 

My Walking Photograph. — A Musical Duality in 1 scene. 
Music arranged from " La Fille de Madame Angot." 'By Alfred 
B. Sedgwick. 1 Male and 1 Female characters. Scene, handsome 
parlor. Costumes, modern. Time of representation, thirty minutes. 

Never Reckon Yoiir Chickens, «S;c. — A Farce in 1 Act. 
By Wybert Beeve. 3 Male and 4 Female characters. Modern 
costumes, and scene, an interior. Time of representation, forty 
minutes. 

Never Say Die. — A Farce. 3 Male and 3 Female characters. 
Males, eccentric middle-aged gent, cockney Englishman, and liglit 
comedy part ; Females, light comedy, walking and chambermaid 
parts. Scene, plain room. Time or representation, about thirty 
minutes. 



FOB THE YOUNG FOLKS. 103 

NcTT Brooms Sweep Clean. — A rarce in 1 Scene. 6 MaJo 
characters. Old man, Irishman, Torkshire, "Chinee," walking gent 
and servant- Time of representation, twenty minutes. 

No Cure, No Pay. — A Farce in 1 Scene. 7 Female characters, 
including Irish girl, old lady and Yankee girl. Time of representa- 
tion, twenty minutes. 

Nobody's CSiilcI. — A Homantio Drama in 3 Acts. By "Watts 
Phillips. 18 Male and 3 Female characters. A domestic drama, 
wonderfully successful in London, as it abounds m stirring scenes 
and capital situations. Costumes, modern, suited to rui*al life in 
Wales. Scenery is wild and picturesque. Time of representation, 
two hours and a quarter. 

Noemie. — A Drama in 2 Acts. Translated and adapted from the 
French of Dennery and Clement by T. "W. Robertson. 4 Male 
and 4 Female characters. Originally' acted in Paris, this piece cre- 
ated such a sensation that it was produced subsequently at all the 
leading theatres of London. Costumes, modern. Scenery, a garden 
scene and a richly furnished interior. Time of rei)resentation, one 
hour and a half. Easily put on the stage. 

No Name. — A Drama in 5 Acts. By TVlLKiE Collins. 7 Male 
and 5 Female characters. A dramatization of the author's popular 
novel of the same name. Costumes of the present day. Scenery, four 
interiors and a sea view. Time of representation, three hours. 

Not a Bit JTealons. — A Farce in 1 Act. By T. "W. Robert- 
son. 3 Male and 3 Female characters. Costumes of the day. Scene, 
a room. Time of representation, forty minutes. 

Not Guilty. — A Drama in 4 Acts. By "Watts Phillips. 10 
Male and 6 Female characters. A thrilling drama founded upon fact. 
Costumes of the present day. Scenery, illustrative of localities about 
Southampton and its harbor, and of others in India. Time of repre- 
sentation, three hours. 

Nothing Like Paste, — A Farce in 1 Act. By Charles 
Marsham Rae. 3 Male and 1 Female characters. Every character 
superexcellent. Billy Doo a regular Burtonian part. Admirable 
piece for amateui*s. Costumes, modern. Scenery, exterior of u small 
villa, with gardens. Time of representation, forty minutes. 

Not Suclx a Fool as He Liooks. — A Farcical Drama in 3 
Acts. By Henry J. Byron. 5 Male and 4 Female characters. 
Excellent for amateurs. Costumes of the day. Sceneiy, three inte- 
riors. Time of representation, two hours. 

Off tlie Stage. — An entirely original Comedietta in 1 Act. By 
Sydney Rosenfeld. 3 Male and 3 Female characters, all equally 
excellent. One of the sprightliest, wittiest and most amusing little 
plays ever written, causing almost an hour's constant merriment. 
Costumes, modern. Scene, a handsome interior. 

On Bread and 'Water.— A Mnsical Farce in 1 Act. Being a 
free adaptation fi'om the German. Bv Sydney Rosenfeld. A rollick- 
ing little piece. 1 Male-nnd 2 Female characters. Containing a brill- 
iant soubrette part. Costumes, modern. Scene, an uucarpeted 
school-room. Time of representation, twenty-five minutes. 

Once on a Time. — A Drama in 2 Acts. 4 Male and 2 Female 
characters. Old man, juvenile man, villain, low comedy, leading 
lady, soubrette and child. Time of representation, one hour. 

Orange Blossoms. — A Comedietta in 1 Act. By J. P. 
"WooLEU. 3 Male and 3 Female characters. Costumes of the pres- 



104 PAltLOB AMUSEMENTS 

ont (lar, and scene, a garden -with summer house. Time of represen- 
tation, fifty minutes. 

Original (Tlxc).— An Interlude in 1 Act. By J. II. Moktox. 
fi Male and 1 Female characters. Costumes, modern and liyerT. 
Scene, interior. Time of representation, forty-five minutes. 

Original Idea (An). — A Dialogue for a lady and gentleman, in- 
troducing reading, recitations and dramatic scenes. Costumes, mod- 
ern. Time of representation to suit performers. 

Onld Man's Coat Tails (The).— An Irish Sketch in 1 Act. 
Y>j McDerjiott and Tkuhble. 3 Afale and 1 Female characters. 
Costumes, ad libitum. Scene, room shabbily furnished. Time of 
representation, fifteen minutes. 

Onrs.— A Comedy in 3 Acts. By T. W. Eobertson. 6 Male 
and 3 Female characters. One of the best and most admired plays in 
our language — "wliile a fair stock company can play it acceptably. It 
has several characters fit for stars. Costumes,"modern, Tvith British 
military uniforms. Scenery, gardens, park, drawing-room, and rudo 
hut in the Crimea. Time of representation, two hours and thirty 
minutes. 

Our Clerks ; or. No. 3 Fig Tree Conrt, Temple. — An 
original Farce in 1 Act. 7 Male and 5 Female characters. Cos- 
tumes, modem, and scene, a large sitting-room solidly furnished. 
Time of representation, sixty -five minutes. 

Our Mary Anne.— A Farce in 1 Act. By J. B. Buceston'E. 
4 Male and 3 Female characters. Costumes, riding dress, male and 
female, Hessian boots, knee breeches and buckles, shoes and buckles, 
hmg waistcoats, riding hat and feather, muslin dress, striped petti- 
coat, etc. Scene, a garden. Time of representation, fifty minutes. 

Peace at Any Price. — A Farce in 1 Act. By T. "W. Eobertsox. 

1 Male and 1 Female characters ; but a variety of voices are lieard 
throughout the piece, the speakers being invisible. A capital sketch 
for two lively amateur comedians. Costumes, modern. Scenery — 
there is but one scene throughout the piece — a meanly furnished 
apartment. Time of representation, twenty minutes. 

Pecnliar Position (A). — A Farce in 1 Act. By J. K. 
Fl.v^xiie. 5 Male and 3 Female cliaracters. Costumes, militai*v uni- 
forms, peasants of Savoy and Piedmont, liveiy, traveling dress, 
morning dress. Scene, apartment in a chateau near Chambery. 
Time of representation, one hour. 

Pertrller of Very Nice (TJic) — A burlesque of the celebrated 
'' Trial Scene from the Merchant of Venice. " For 7 Male characters. 
Xo scenery required. Costumes, motley. Time of representation, 
twenty-five minutes. 

Penelope Anne — A -Musical Farce in 1 Act. By F. C- BuR- 
XANP. 4 Male and 1 Female characters. Costumes, modern. Scene, 
a plain room. Time of representation, forty minutes. 

Pot Lianib (The).— A Domestic Scene in 1 Act. By C. TV. 
Scott. 1 Male and 2 Female charactei's (one a child). Costumes, shab- 
by. Scene, a room miserably furnished. Time of representation, twen- 
ty minutes. 

Pint of Ale (A).— A Temperance Sketch in 1 Act. 3 Male and 

2 Female characters. Costumes, modern. Scene, plain. Time of 
repx'esentation, twenty miuutes. 

Plot and Passion. — A Drama in 3 Acts. From the French. 
By Tom Taylor, 7 Male and 2 Female characters. A neat and well 



FOB TBE YOUNG FOLKS. 105 

constructed play, admirably adapted to amateur representation. Cos- 
tumes of the period of the First Empire, rich and attractive. Scenes, 
an interior in a French mansion, and one in a country villa. Time of 
representation, one hour and a half. 

Popploton's Predicaments. — ^A Farce in 1 Act. Ey 
Chakles M. Rae. 3 Male and 6 Female characters. Costumes of 
the day. Scene a drawing-room. Time of representation, forty min- 
utes. 

Porter^s Knot (Tlie).— A Serio-comic Drama in 2 Acts. By 
John Oxenford. 8 Male and 2 Female characters. Interesting and 
thoroughly dramatic. Costumes of the day. Scenes, an interior of 
a cottage and exterior of sea-side hotel. Time of representation, one 
hour and a quarter. 

Post Boy (The).— An original Drama in 2 Acts. ByH. T. Cra- 
ven. 5 Male and 3 Female characters. Very successful. Costumes, 
modem. Scenery, two interiors. Time of representation, one hour 
and a half. 

Precious Pickle (A). — 6 Female characters, old maid, talka- 
tive woman, three school-girls, coloredhelp. Time of representation, 
twenty minutes. 

Private Inquiry (A). — A FaTce in 1 Act. By B. "VrBBSTEK, 
Jr. 4 Male and 2 Female characters. Costumes, modern, except^ 
"Walter Worricow, the leading part (low comedy), who wears Hessian 
■boots, black coat, vest and pantaloons. Scene, a well-furnished room. 
Time of representation, forty minutes. 

Public Benefactor (A). — 6 Male characters, old man, young 
man, eccentric comedian, a countryman, a lubberly boy, an Irishman. 
Time of representation, twenty minutes. 

Purty Shnre Cure, (A). — An Irish Sketch in 1 Act. By Mc- 
Dermott and Tkumble. 2 Male and I Female characters. Costumes, 
ad libitum. Scene, plain room. Time of representation, thirty min- 
utes. 

Pntfcins, Heir to Castles in the Air. — A Comic Drama in 
1 Act. By William R. Emerson. 2 Male and 2 Female characters. 
Scene, kitchen. Costumes, modern. Time of representation, forty- 
iive minutes. 

Q,uite at Hon»e.— -A Comedietta in 1 Act. By Arthur Sketcu- 
LET. 5 Male and 2 Female characters. A real lively taking piece. 
All the characters passable. Costumes, modern. Scenery, a shabbily 
furnished apartment. Time of representation, forty-five minutes. 

Race Ball (The); or, Cliaos is Come Again. — A Farce 
in 1 Act. By J. M. Morton. 6 Male and 1 Female characters. 
Costumes, military, jockey, livery, evening dress, riding habit, ball- 
dress. Scenes, a room at an inn, a ball-room. Time of representation, 
forty-five minutes. 

Race for a Dinner (A).— A Farce in 1 Act. By J. F. G. Bod- 
well. 10 Male characters. A sterling piece. Costumes of the day. 
Scene, a tavern exterior. Time of representation, sixty minutes. 

Red Clii^non (Tlie). — 6 Female charactera ; old maid, fash- 
ionable lady, four school-girls. Time of representation, twenty min- 
utes. 

Result of a Nap (The).— A Farce in 1 Act. 3 Male and 2 
Female characters. Costumes, hunting dress, loose pants, dressing- 
gown and morning dress. Scene, room neatly furnished. Time of 
roprcflcntation, thirty minutes. 



X 



106 PAllLOR AMUSEMENTS 

Robin Hood; or, Tlic Merry Men of SHerirood For- 
est. — A Sylvan Drama in 2 Acts. 11 Male and 3 Female characters. 
Costumes, tunic, armor, tights, russet boots, bishop's dress, monk's 
dress, crown, dresses trimmed with ermine, etc. Scenes, a forest, a 
grand hall. Time of representation, forty-five minutes. Directions 
are given by which the " elaborate" scenery of this play can easily be 
arranged in a parlor. 

Runaways (The). — 4 Male characters, an old farmer, two 
school-boys, a policeman. Time of representation, fifteen miniltes. 

Ruy Bias. — A Romantic Drama in 4 Acts, from the French of 
Victor Hugo. 12 male and 4 female characters. This piece was 
eminently successful in London when i)roduced by Mr. Fechter. 
It contains numerous scenes, capable of being performed imconnected 
with the drama, by amateurs. Spanish costunjes of 1692. Scenery, 
halls and apartments in the royal palace at Madrid. Time of repre- 
sentation, three hours and a half. 

Sayings and Doinfics; or, The Rule of Contrary. — A 
Farce in I Act. By J. M. Morton. 5 Male and 3 Female charac- 
ters. Costumes, riding-dress, morning-dress, old-fashioned dresses, 
livery, etc. Scenes, one room plainly furnished, and one neatly fur- 
nished. Time of representation, forty-five minutes. 

ScHool.— A Comedy in 4 Acts. By T. TV. Eobertson. C Male 
and 6 Female characters. Is a very superior piece, and has three 
characters unusually good for either sex. Could be played with fine 
cflect at a girls' seminary. Costumes, modern. Scenery, English 
landscape and genteel interiors. Time of representation, two hours 
and forty minutes. 

School for Schenting. — (Played at "Wallack's under the title 
of "Love and Money.") A Comedy iu 5 Acts. By Dion Bouci- 
CAULT. 7 Male and 8 Female characters. Costumes, modern suits, 
monkey jacket, fancy waistcoat and trousers, coat trimmed with fur, 
evening dress, riding coat, Newmarket coat, ball dress, morning dress, 
modern dresses. Scenes, plain room, drawing-room handsomely fur- 
nished, ball-room, pier at Boulogne- Sur-Mer. Time of representation, 
two hours and fifty minutes. An excellent comedy, very successful. 

School for Tigers (The); or. The Shilling Hop.— A 
Farce in 1 Act. By Mark Lemon. 14 Male and 13 Female charac- 
ters. Costumes, drab coat, nankeen breeches, striped vest, top boots, 
liveries, policeman's dress, modern dresses. Scenes, room of a public 
house, large plain room. Eight of the male characters are taken by 
females, dressed in liveiy (as tigers). Time of representation, one hour 
and twenty minutes. 

Sculptor's Triumph (The).— A National Allegory for 1 
Male and 1 Female character who speak, and three Female charac- 
ters who personate statuary in the tableau groups incidental to the 
piece. Time of representation, twenty minutes. 

Sea of Trouhlcg (A). — A Farce in 1 Scene. 8 Male characters. 
Old man, Yankee, Irishman, stuttering man, eccentric walking gent, 
low comedian. Time of representation, thirty minutes. 

Seeing the E^lephant. — A Temperance Farce. 5 Male and 
2 Female characters. Eccentric old man, lover, boy. Irishman, dar- 
ky, Yankee girl and old lady. Scene, plain room. Time of repre- 
sentation, thirty minutes. 

Sentinel (The).— A Musical Burletta in 1 Act. By J. M. 
Morton. 4 Male and 1 Female characters. Costumes, military, 
court dress, red petticoat, velvet bodice, etc. Scene, view of palaco 
auU garden, quite elaborate. Time of representation, one hour. 



FOB THE YOUNG FOLKS. 107 

Sheep in Wolfs Clotliiing (A). — ^A Domestic Drama in 1 Act. 
Freely adapted from Madame de Girardin's " Zfne Femme qui deteste 
So7i Mari" by Tom Taylok. 7 Male and 5 Female characters. A 
neat and pleasing domestic play, founded upon incidents following 
Monmouth's rebellion. Costumes of the time of James II of En- 
gland. Scene, a tapestried chamber. Time of representation, one 
iiour. 

Sign of Affection (A); or, Tlie Hen and Chickens. — A 
Comic Drama in 2 Acts. By B. Websteu, Jk. 5 Male and 2 Female 
characters. Costumes, midshipman's, livery and modern. Scene, 
handsomely furnished room. Time of representation, one hour and 
forty -five minutes. 

Silent' Protector (A).— A Farce in 1 Act. By Thomas J. 
Williams? 3 Male and 2 Female characters. An active, bustling 
piece of ingenuity, which affords abundant opportunities for the dis- 
play of Quickfidget's eccentricities. Costumes of the period. Scene, 
a drawing-room. Time of representation, forty minutes. 

Silent Woman (A).— A Farce in 1 Act. By Thomas Hailes 
Lacy. 2 Male and 1 Female characters. One of the prettiest little 
pieces on the English stage. Dresses of the period. Scene, a draw- 
ing-room. Time of representation, thirty -five minutes. 

Silverstone^s Wager.— A Comedietta in 1 Act. By R. K. An- 
DUEWs. 4 Male and 3 Female characters. Scene, plainly furnished 
reception room in an academy. Easily managed. Costumes, mod- 
ern. Very successful wherever performed. Time of representation, 
fifty minutes. 

Single Life.— A Comedy in 3 Acts. By J. B. Buckstone. 5 
Male and .5 Female characters. Costumes, English dresses of 1839. 
Scenes, interiors, some plain and some elegantly furnished. One of 
Buckstone's most laughable comedies. Time ol representation, two 
hours. 

Society.— A Comedy in 3 Acts. By T. "W. Robertson. 16 Male 
and 5 Female characters. A play exceedingly popular, intended to 
exhibit the foibles of British society and to ridicule tlie election sys- 
tem. Costumes of the present day. Scenery, elaborate. Time of 
representation, two hours and a half. 

Spelling Match (The).— A Comic Musical Duality. By Al- 
fred B. Sedgwick, l Male and 1 Female characters. 'Costumes, 
modern. Scene, a landscape. Words and music. Time of represen- 
tation, fifteen minutes. 

Spitfire (The).— A 'Farce in 1 Act. By J. M. Morton. 6 
Male and 2 Female characters. Costumes, navy uniform, sailors, old- 
fashioned coat, nankeen breeches, high boots, flap waistcoat, cap- 
tain's uniform, long cloak, etc. Scenes, room at an inn, cabin and 
deck of a vessel. One of the female characters assumes a male cos- 
tume part of the time. Time of representation, one hour. A roar- 
ing farce. 

Stand by the Flag; or. The Fall of Sumter. — A 
Drama in 1 Act. 5 Male characters. Veteran of the Revolution, two 
juvenile men, Irishman and negro. Time of representation, thirty 
minutes. 

Sylvia's Soldier.— A Drama in 2 Acts. 3 Male, 2 Female 
characters. Old man, light comedian, low comedian, leading lady 
and juvenile lady. Time of representation, one hour. 

Taming a Tiger.— A Farce in 1 Act. Altered from tho 
French. 3 Malo characters. In this a dashing light oomediau and 



108 FAELOn AMUSEMENTS 

fiery, petulant old man cannot 'fail to extort applause. Modern 
dresses, and scene, a modern apartment. Time of representation, 
twenty -five minutes. 

Tell-Tale Heart (A).— A Comedietta in 1 Act. By Thomas 
PiCTON. 1 Male and 2 Female characters. Excellent for private repre- 
sentation. Costumes of the day. Scene, a rilla room. Time of rep- 
resentation, forty minutes. 

Tempest in a Teapot (A). — ^Petite Comedy in 1 Act. 2 Male 
and 1 Female characters. Admirably adapted for private perform- 
ance. Costumes of the day. Scene, an interior. Time of represen- 
tation, thirty-five minutes. 

Tempter (Tlie); or, The Sailor's Return. — A Drama in 1 
Act. .3 Male, 1 Female characters. Leading man, villain, low come 
dy, juvenile lady. This is also a temperance drama, and quite effect 
ive. Time of representation, thirty minutes. 

Tender AttacHment (A). — A Farce for 7 Male characters 
including Irishman, Frenchman, Dutchman and Yankee. Originally 
published in " Oliver Optic's Magazine, ''-under the title of " A Sol- 
dier, a Sailor, a Tinker and a Tailor.'' Time of representation 
thirty minutes. 

Tliief of Time (Tlie). — A Humorous Dialogue, or Short Farce 
6 Male characters; 3 school-boys, a deaf gentleman, a countryman 
and an Irishman. Time of representation, twenty minutes. 

Thirty Minntes for Refreshments. — A Farce in 1 Scene. 
4 Male, 3 Female characters. Eccentric comedian, peppery military 
man, walking gent, negro, walking lady, old maid and soubrette. 
Time of representation, thirty minutes. 

Three Grocers (The); or, Hobbs, Dobbs and Stiibbs. — 
A Comedy in 2 Acts. By Benjamin Webster. 5 Male and 5 Fe- 
male characters. Costumes, small clothes, top boots and modern 
dresses. Scenes, interiors, plain and elegantly furnished. Time of rep- 
resentation, foi-ty-five minutes. 

Three Temptations (The). — A Masque for the Modems, 
novel, allegorical, musical and spectacular. In 1 Act. By E. L. 
Blancharu. 7 Male and 2 Female characters. Costumes, armor, 
tights, fairy, etc., rich and fine. Scenes, banqueting hall, sea-shore by 
moonlight, an attic, path in the forest. Allegorical. Time of repre- 
sentation, one hour. 

There's Millions in It. — A Musical and Dramatic Sketch. 
By Alfred B. Sedgwick. 2 Male and l Female characters. Cos- 
tumes modern. Scene, a landscape. Songs and Music. Time of rep- 
resentation, twenty minutes. 

Thorn Among the Roses (A). — A Comedy in I Act. 2 Male, 
8 Female characters. "Written to supply a want in female scliools, 
where very few male actors can be obtained. Time of representation, 
about thirty minutes. 

Tiger at Large (The); or, The Cad of the " Bus."— A 
Burletta in 1 Act. By George Blink. 5 Male and 3 Female charac- 
ters. Costumes, conductor's hat and coat, Hessian boots, livery, 
modern dresses. Scenes, a street, a room plainly furnished. Time 
of representation, one hour. 

Time and the Hour. — A Drama in 3 Acts. By J. Palgrave 
Simpson and Felix Dale. 7 Male and 3 Female characters. An 
excellent acting play, full of life and incident, the parts of Medlicott 
and Marian jLJeck being capable of impressive representation— all 



\ 



FOB TEE YOVNa FOLKS. 109 

others good. Costtimes of the present period. Scenery, gardens and 
exterior, cottage and garden, and an old oaken chamber. Time of 
representation, two hours and a half. 

Time and Title.— A Drama in 3 Acts and a Prologue. By 
Henry Leslie. 7 Male and 5 Female characters. An effective piece, 
wltli novel ajjd striking incidents. Costumes, English, present day. 
Scenery, London and river scenery. Time of representation, two 
hours. 

Timotliy to tHe Rescue. — A Parce in 1 Act. By Henry J. 
Byrox. 4 Male and 2 Female characters. In this laughable piece 
Spangle assumes several personifications. Costumes of the day, and 
scene, a plain interior. Time of representation, forty-five minutes. 

Tipperary Licgacy (The).— A Farce in 1 Act. By Sterling 
Coyne. 5 Male and 1 Female characters. Costumes, Newmarket 
coat, crimson silk vest, plaid trousers, ragged coat, paper cap, cord 
trousers, policeman's suit, modem dresses, etc. Scene, a street with 
set houses each side. Time of representation, fifty minutes. An ex- 
cellent Irish part in this play. 

Tootle, Tootle, Too ; or, Tlie Frenchman and His 
Pupil.— A Musical Sketch in 1 Act. By Alfred B. Sedgwick. 
Costumes, modern. Scene, a drawing-room. Songs and Music. Time 
of representation, fifteen minutes. 

Tournament of Idylcourt. — ^An Allegory. Female charac- 
ters only. Thirteen speaking parts, interspersed with music and 
tableaux. Can be performed on a platform, or more elaborately pro- 
duced. Time of representation, about thirty-five minutes. 

Tragedy Transmogrified. — ^A Burlesque in 1 Act. 3 Male 
and 2 Female characters. Costumes, modern. Scenes, a plain room, 
and a stage. Time of representation, thirty minutes. 

Turning the Tables. — A Farce in 1 Act. By John Poole. 
5 Male and 3 Female characters. One of the happiest efforts of 
the famous author of " Paul Pry." The part of Jeremiah Bumps is 
redolent with quaint humor. JH standard acting piece. Dresses and 
scenery of the present day. Time of representation, sixty-five min- 
utes. 

T-tveedie's Rights— A Comedy in 2 Acts. By James Al- 
DERY. 4 Male and 2 Female characters. Has several excellent 
cliaracters. John Tweedie po^\'erful personation ; Tim "Whiffleu 
H very funny. Costumes, modern. Scenery, a stone-mason's yard and 

I modest interior. Tme of representation, one hour and twenty-five 

I *• minutes. 

a Twice Killed.— A Farce in 1 Act. By John Oxenford. 6 

" Male and 3 Female characters. Costumes, modern. Scene, land- 

scape and a drawing-room. Time of representation, forty-five min- 
\ ntes. 

Two Gay Deceivers; or. Black, White and Gray. — 
A Farce in 1 Act. Bv T. W. Eobertson. 3 Male characters. 
Adapted from the Fi'encn of one of tlie most laughable vaudevilles on 
the Parisian stage. Costumes of the present day. Scene, a cell in a 
police station. Time of representation, forty minutes. 

T-wo Gentlemen at Mivarts. — A Duologue in 1 Act. 2 
Male characters. Costumes, modern. Scene, a plain room. Timo 
of representation, twenty minutes. 

Two Polts (The).— A Farce in 1 Act. By John Courtney. 
4 Male and 4 Female characters. Costumes, modem. Scenery, a 
street and two interiors. Time of roprcacutation. lorty-firo minutes. 






i 



110 PABLOE AMUSEMENTS 

Uncle's "Will.— A Comedietta in 1 Act. By S. Theybe 
Smith. 2 Male and 1 Female characters. A brilliant piece; can be 
easily played in a parlor. Costumes, modern, and naval uniform for 
Charles. Scenery, set interior, drawing-room. Time of representa- 
tion, thirty minutes. 

Up for tlie Cattle SKow.— A Farce Jn 1 Act. By Harry 
Lemon. 6 Male and 2 Female characters. Costumes, English of 
the present day. Scene, a parlor. Time of representation, forty 
minutes. 

Using the *'Weed." — 7 Female characters; vralking lady, 
three school-girls, two old maids, comic servant. Time of represen- 
tation, twenty minutes. 

Vandylce Bro'wn. — A Farce in 1 Act. By Adolphus 
Charles Troughton. 3 Male and 3 Female characters. Popular 
Wherever performed. Costumes of the present day. Scene, a cham- 
ber, backed by a window. Time of representation, one hour. 

Village Doctor (The). — A Drama in 2 Acts. By Bexjamin 
"Webster. 4 Male and 2 Female characters. Costumes, small 
clothes, top boots, military overcoat, coat trimmed with lur, frogs 
and braid, cord trousers, Hessian boots, morning gown, huntsman's 
coat, high leather gaiters, lace gown, bonnet and feathers, India 
shawl, morning dress, etc. Scenes, interiors, plain and richly furnish- 
ed. Time of representation, one hour and thirty minutes. 

"Virtue Victorious. — A Burlesque in the old Standard Come- 
dy style in 1 Act. 4 Male and 1 Female characters. Costumes, 
shooting-jacket, "wide-awake hat, knee breeches, gaiters, shooting 
boots', riding-coat, butcher's boots, footman's livery, etc. Scenes, 
outside of a farm-house, plain room. Time of representation, thirty 
minutes. 

Visions of Freedom. — An Allegory. Female characters only. 
Sixteen speaking parts, interspersed with music and tableaux. 
Can be performed on a platform, or more elaborately produced. Time 
of representation, about thirty-five minutes. 

Volunteer RevicTV (The); or, The l<ittle Man in 

Green.— A Farce in 1 Act. By Thomas J. "Williams. 6 Male 

and 6 Female characters. Easily localized as the " Home Guard," or 

■ "Militia Muster." Costumes of the day, and scene, a room. Time 

of representation, forty-five minutes. 

"Wanted, a Male Coolt. — A Farce in 1 Scene. 4 Male char- 
acters. Old man, Yankee, Irishman and Frenchman. Time of rep- 
resentation, twenty minutes. 

Wanted, a "foung Lady. — A Farce in 1 Act. By "W. E. 
SuTER. 3 Male characters. Effective for amateurs. Costumes of 
the day. Scene, a room. Time of representation, forty minutes. 

"War of* the Roses (The).— An Allegory for 8 Female charac- 
ters who speak, and choruses. Yery successful in the Boston School 
Exhibitions. Time of representation, twenty-five minutes. 

War to the Knife.— A Comedy in 3 Acts. By Hexry J. 
Byron. 5 Male and 4 Female characters. A pleasing, entertaining 
and morally instructive lesson as to extravagant living; capitally 
adapted to the stage. Costumes of the present time. Scenes, three 
interiors. Time of representation, one hour and three-quarters. 

Weak Points.— A Comedy in^ 2" Acts. By J. B. Bdckstonk. 
6 Male and 5 Female characters. ' Costumes, military coat, wrap- 
per and night-cap, calash and cloak, modern. Scene, interiors, 
plain and well furnished, passage and landing-place. Time of reprc- 
Bentation, one hour aud forty minutes. 



FOB THE YOUNG FOLKS. Ill 

Wearing of tlie Green. — A Burlesque Drama in 1 Act. 3 
Male and 3 Female characters. Costumes, conventional dress of tho 
sta^e Irishman. Scene, a cabin, a fair, a prison. Time of represen- 
tation, twenty-five minutes. 

We're all Teetotallers. — A Farce in 1 Scene. 4 Male, 2 
Female characters. 3 Yankees, 1 city ^ent, Yankee dame and Yan- 
kee girl. Good temperance piece. Time of representation, thirty 
minutes. 

Wlio is Wlio T or, All in a Fog. — A Farce. Adapted from 
the French by Thomas J. Williams. 3 Male and 2 Female char- 
acters. Costumes, modern English dresses as worn by country 
gentry, and scene, parlor in an old-fashioned country house. Time 
of representation, thirty minutes. 

Wiflow Hunt (A). — An Original Comedy in 3 Acts. By J. 
Sterling Coyne. 4 Male and 4 Female characters. An ingenious 
and "well-known alteration of the same author's "Everybody's 
Friend," the part of Major Welijngton de Boots having been ren- 
dered popular by Mr. J. S. Clarke in England and America. Cos- 
tumes and scenery of the period. Time of representation, two hours 
and a half. 

Who Got tlie Pig f — An Irish Sketch in 1 Act. By McDer- 
MOTT and Trumble. 3 Male and 1 Female characters. Costumes, 
ad libitum. Scene, a plain room. Time of representation, twenty 
minutes. 

"Who's Yonr Friend 1 or, The Q,neensbary Fete. — ^A 
Comic Drama in 2 Acts. By J. E. Blanche. 4 Male and 3 Female 
characters. Costumes, rich and elegant. Scene, garden decorated 
and lighted up for a fete, saloon handsomely furnished. Time of rep- 
resentation, one hour and thirty-two minutes. 

Why did Yon Die T— A Petite Comedy in 1 Act. By Chas. 
Mathews. 3 Male and 3 Female characters. Costumes, square-cut 
coats, livery, modern dress, etc. Scene, a boudoir. Time of repre- 
sentation, fifty minutes. 

"Wine Cnp (The) ; or, Saved at Liast. — A Temperance 
Sketch in 1 Scene. 5 Male and 4 Female characters. Costumes, torn 
coat, shabby pants, checked pants, fancy vest, child's shabby dress, 
policeman's uniform, white dress. Scenes, bar-room, prison. Time 
of representation, twenty minutes. 

A Woman -will be a Woman. — A Duologue in 1 Act. By 
J. Redding "Ware. 1 Male and 1 Female characters. Costumes, 
modern. Scene, a drawing-room, handsomely furnished. Time of rep- 
resentation, twenty-five minutes. 

Womens' Rights.— A Comedietta in 2 Acts. By Eetlaw 
Spuing. 3 Male and 8 Female characters. Costumes, modern. Scenes, 
plain room, ladies' club, a village. Time of representation, forty min- 
utes. 

■Woman's Vo'ws and Masons' Oaths. — ^In 4 Acts. By 
A. J. H. Ddganne. 10 Male and 4 Female characters. Has effective 
situations, fine characters, and beautiful dialogues. Costumes mod- 
ern, with Federal and Confederate uniforms. Scenery, interiors in 
country houses, and warlike encampments. Time of representation, 
two hours and thirty minutes. 

Woodcock's Iiittle Game. — ^A Comedy Farce in 2 Acts. 
By J. Maddison Morton. 4 Male and 4 Female characters. A spar- 
kling, lively coinpositiou, by one of tho most humoi-ous dramatic 



112 



PARLOR AMUSEMENTS, 



.luthors. The part of "Woodcock has been performed by Charles Ma- 
thews and Lester AVallack. Costumes of the period. Sceneiy, mod- 
ern apaitmcBts, handsomely furnished. Time of representation, one 
hour. 

Wrong Bottle (Tlie).— A Temperanee Sketch in 1 Act. By 
McDermott and Trumble. 2 Male characters. Costumes, od Zi6i- 
ium. Scene, a study. Time of representation, twenty minutes. 

Young Collegian (The) (Tlie Cantab).— A Farce in 1 
Act. By T. W. EoBERTSON. 3 Male and 2 Female characters. A 
rattling piece, filled with ludicrous situations, which could be splen- 
didly worked up by a good light comedian. Costumes, modern. Scene, 
a handsome interior. Time of representation, fifty minutes. 

Young Scamp (Tlie).— A Darky Sketch in 1 Scene. By Add 
"Weaver. 3 Male characters. The players that can't tickle an 
audience with this piece had better " hang up de fiddle and de bow." 
Time of representation, fifteen minutes. 

Your Life's in Danger. — A Farce in 1 Act. By JOHX 
M ADDISON Morton. 3 Male and 3 Female characters. Scene, well 
furnished room. Costumes, lapeled coat«, flowered waistcoats, 
breeches, etc., for males ; velvet dresses, etc., for females. Time of 
representation, one hour. 



ARNOLD'S 

Dialogues, Plays and Speeches. 



A collection of short Dramatic Sketches, TTitty and Sparkling Dialogues, and a 
A-ariety of Pathetic, Serious and Comic Speeches. Designed for the use of.schools, 
social gatherings and evening parties, by Anure Arnold. 

CONTENTS. 



Dialogues: 

Mrs. Sniffles' Confession. — 1 Male and 
1 Female character. 

The French Cook. — 2 Male characters. 

Examiuation Day at the Seminary. — 11 
Female characters. 

Fashionable Eeciuirements. — 3 Female 
charactei's. 

The Poet Under Difficulties.— 5 Male 
characters. 

The Goddess of Folly. — 12 Female char- 
acters. 

The Light of Love. — 2 Male characters. 

The Debating Club. — 4 Male charac- 
ters. 

Tlie Fox and the;,Ranger.— 2 Male char- 
acters. 
Plats: 
A Noble Vagabond. — A Sketch in 1 A.ct. 

2 Male characters. Costumes, Spanish. 

Scene, simple. Time in representation, 

fifteen minutes. 
The Three Men of Science. — A Comic 

Sketch in 1 Act. 4 Male characters. 

Costumes and scenes easy. Time in 

representation, thirty minutes. This is 

n very laughable piece, and cannot fail 

to " bring down the house." 

Slighted Treasures. — A Petite Come- 
dy in 1 Act. 4 Female characters. Cos- 
tumes, modern. Scenery, plain. Time 

in representation, forty -five minutes. 
The Harvest Slorm. — A Domestic 

Drama in 1 Act. 10 Male characters. 

C'ostumes, modern. Scene, simple. Time 

in repi'csentation, forty minutes. 
A Silent Woman. — Comedietta in 1 

Act. 1 Male and 1 Female character. 

Costumes, modem. Scene, a drawing- 

I'oom. Time in representation, twenty 

miimtes. 

Furnished Apartments. — A Comic 

Interlude in 1 Act. 5 Male characters. 

Costumes and scenery easy. Time in 

representation, fifty minutes. 
Tact and Fact. — A Comic Sketch in 

I Scene. 1 Male and 1 Female charac- 

1 Volume, Neat Paper Covers. Price ' 30 cts. 

Bound in Cloth. Price 50 cts. 

Sent by mail, on receipt of the price, by 

HAPPY HOURS COMPANY, Publishers, 

JVo. 1 Cliainberv Street, fiew York. 



ter. Costumes, modern. Scene, a draw- 
ing-room. Time in representation, 
fifteen minutes. 

The Babes in the Wood; or, The Fe- 
rocious Uncle and the Avenging Kobins. 
— A Domestic Tragedy in 1 Act. 7 
Male characters. Costumes and scen- 
ery easy. Time in representation, thirty 
minutes. 

Too Attentive by Half. — A Comic 
Sketch in 1 Act. 2 Male and 1 Female 
character. Costumes, modern. Scene, 
a handsomely furnished apartment. 
Time in representation, tliirty minutes. 

Decidedly Cool. — A Comic Sketch in 
1 Act. 2 Male and 1 Female character. 
Costumes, modern. Scene, simple. Time 
in representation, twenty minutes. 

Killing Time. — A Comedietta in 1 Act. 
1 Male and 1 Female character. Cos- 
tumes, modern. Scene, an elegant apai't- 
ment. Time in representation, twenty- 
five minutes. 

Spekches: 
Rory O'Mool-e's Present to the Priest. 
The "Widow Bedott's Letter to Elder 

Sniffles. 
The Yankee Landlord. 
Lord Dundreary's Kiddle. 
Antony and Cleopatra. 
Lecture on Bad Boys. 
Hezekiah Stubbing' Oration, July 4th. 
Old Sugar's Courtship. 
Mr. Caudle "Wants a " Latch-Kcy." 
A Mother to Her Boy. 
The Falls of Lodore. 
The Battle of Ivry. 
" All "We Ask is to bo Let Alone." 
TheTwoKoads. 
Custer's Last Charge. 
Spartacus to the Gladiators at Cnpua. 
Josh Billings on Courting. 
The Tliree Warnings. 
The Debating Society. 
Jimmy Butler and the Owl. 
Aurelia's Unfortunate Young Man, 
A Showman on the "Woodchuck. 



LITTLE PLAYS FOR LITTLE PEOPLE. 



A series of favorite Tales of cbildliood. arranged in a dramatic form for home 
performance, school exhibitions, etc. With full directions as regards manage- 
ment of costumes, scenery, etc. 

CO]!TTENTS. 



Aladdin and the Wonderful Lamp. — 
A Drama of ups and downs, for young 
ladies and gentlemen, in 2 Acts. 6 Male 
and 3 Female characters. Mandarin, 
ladies in waiting, maids of honor, 
ushers, guards, gamins, etc. Costumes 
elaborate. Scenes, mteriors and exteri- 
ors. Time of representation, one hour. 

Jilue Beard; or, Female Curiosity. — 
A Sensation Drama in 2 Acts. C Male 
and 2 Female characters. Costumes, 
Tui'kish. Scene, a room in Blue Beard's 
castle. Time of representation, thirty 
minutes. 

Frog Prince (The).— A Fairy Play in 
1 Act. 2 Male and 1 Female character. 
Costumes, doublet, hose, puffed breech- 
es, Spanish cloak, regal robes, long man- 
tle and train, etc. Scene, a wood and 
apartment in a palace. Time of repre 
sentation, twenty minutes. 

Jack the Giant Killer. — A Fairy Play 
in 1 Act. 4 Male and 3 Female charac- 
tex'S. Costumes, Knickerbocker suit, 
cap and'feathers, short coat, cap. etc., 
for Jack, any grotesque dress for 
Giant, neglige dress for ladies. Scene, 
a plain room. Time of representation, 
twenty minutes. 

Little Bed Hiding Hood. — ^A Fairy 
Play in 1 Act. 3 Male and 3 Female 



characters. Costumes, .wolf's mask, 
tiinic, short wide trousers, long boots, 
mob cap, quilted petticoat, etc. Scene, 
interior and exterior of cottage. Time 
of representation, twenty-five minutes. 

Little Silver Hair and the llcrce 
Bears. — A Pastoral Drama in 1 Act. 2 
Male and 2 Female characters. Co.s- 
tumes, bear's head mask, top boota, 
flowered waistcoat, "girl of the period " 
dress, little girl's dress. Scene, wood 
and interior of cottage. Time of repre- 
sentation, fifteen minutes. 

Loves of Little Bo-Peep {The). — In 1 
Act. 5 Male and 4 Female characters. 
Costumes, square-cut coats, knee- 
breeches, flowered waistcoats, silk 
stockings, shoes and buckles, farmer's 
dress, flowered gown, quilted petticoats, 
traveling dress, shepherdess' hat and 
ribbons, etc. Scenes, kitchen and a field. 
Time of representation, forty minutes. 

Rohin Hood; or. The Merry Men nj 
Sherwood Forest. — A Sylvan Drama in 
2 Acts. 11 Male and 3 Female charac- 
ters. Costumes, tunic, annor, tights, 
russet boots, bishop's dress, monk's 
dress, crown, dresses trimmed with er- 
mine, etc. Scenes, a forest, a grand 
hall. Time of representation, forty-five 
minutes. ' 



This book contains full directions for producing the " elaborate scenery and cos- 
tumes " of the above plays in any parlor, at very little trouble and expense. 
PRICE 30 CSNTS. 



HOf ¥E MANAGED OUR PRI7ATE THEATRICALS; 

Or, a Guide to the Amateur Stage. 

Containing plain directions for the construction and arrangement of the Stage, 
painting the Scenery, getting up the Costumes, making the Properties and Ac- 
cessories, Hints on Stage Effects, instructions for making Calcium Lights, etc., 
etc. Prepared for the use of schools, private families and dramatic clubs. 
CONTENTS IN PART. 



Introduction. Construction of a 
Stage. Proscenium and Auditorium. 
The Curtain and Drop. Lighting the 
Stage. Scenery and Scene Painting. 
Costumes, Properties and Accessories. 
Stage Effects, etc.. etc. 
sixteen Descriptive Illustrations and Diagrams 

PRICE 25 CJEIVTS. 
Either of the above will be sent by mail, on receipt of the price, by 
HAPPY HOURS COMPANY, Pnblisliers,* 

No. 1 Cliambers Street, Jiew Y'oik. 



Penelope Anne — ^A Musical Farce 
in 1 Act. 4 Male, 1 Female character. 
Costumes and Properties easy. Scene, 
Public Room in a small hotel on the 
Continent. Time ia representation, 
about thii-ty minutes. 



EVENING ENTERTAINMENTS. 



A collection of Plays, Charades, Tableaux, TVax Works, Parlor Games, Amuse- 
ments, etc., etc. 

CONTENTS. 



," JLK is not Gold that Glitters.''— A 
Dramatic Proverb in 1 Scene. 2 Male 
and 3 Female characters. Costumes, 
modern. Scenery, simple. Time in rep- 
resentation, twenty minutes. 

Pilgrimage.— An Acting Charade in 
4 Acts. 4 Male and 4 Female charac- 
ters. (One an Irish servant.) Cos- 
tumes, modern. Scenery, simple. Time 
in representation, forty -five minutes, 

A Little Flay for Little Folks.— (A 
Christmas Piece). 4 Male and 3 Female 
characters. Costumes, easy. Scene, a 
back parlor. Time in representation, 
twenty minutes. 

The Miser's Supper. — A Trick Panto- 
tnime. 3 Male characters. Costumes, 
scenery and properties simple and easy. 
Time in representation, fifteen minutes. 

Jarley's Wax Works.— ^ Male and 5 
Female characters. Costumes and scene 
easily arranged. Time in representa- 
tion, thirty minutes. 



Tableau Yivants. -^The Surrender of 
Calais, 1347. Queen Isabella and Roger 
Mortimer, 1330. The Marriage of Hen- 
17 VII with Elizabeth of York, 1486. 
3Iurder of David Rizzio, 1566. Charles 
I and His Children, 1649. All of the 
above can easily be arranged with ma- 
terial in almost any family. 

Farlor Gatnes and Amusements. — 
The One-Syllable Game. The Dialogue 
Game. The Game of Clumps. The 
Blind Feeding the Blind. Blowing out 
the Candle — an Optical Delusion. A 
Match Under the Microscope. The 
Modus Operandi of Table Raising. Act- 
ing Rhymes. Seeing through youi' hand. 
To Take oif a Person's Shirt while His 
Clothes are on. 

Chemical Recreations. — Rosin Grapes. 
To Hold Paper over the Flame of a 
Candle without Burning it. Cold and 
Hot, Which is Which ? The Candle In- 
visibly Extinguished. 



PRICE 15 CE:]VT8. 



THE HOLIDAY GUEST. 



A collection of Stories, Games and Amusements for winter evenings. 
CONTENTS. 



The Editor's Cliristmas Greeting, il- 
lustrated. Found in a Muniment Chest, 
by the author of "Lady Audley's Se- 
cret." The Death's-Head Club— A Le- 
gend of Savannah. Carol. A Million 
a Minute. Card Tricks, 5 illustrations. 
Modern Popular Conjuj-ing. Games for 
the Little Ones. Blue Beard Tableaxix, 
3 illustrations. An Acting Drama. Tlie 
Boomerang, illustrated. Amusing Ex- 



periments. The Mystery of the Floating 
Head, 2 illustrations. The Dancing 
Skeleton. Bobbing Around; or, , The 
Game of Families. Lost and Found in 
the Snow. Nuts to Crack. Puzzles, 
Enigmas, Charlies, Conundrums, etc., 
etc., 24 illustrations. The Christmas 
Tree, illustrated, etc., etc., etc. Ouo 
volume, paper covers. 



PItlCf: 10 CENTS. 

Either of the above will be sent by mail, on receipt of the price, by 
HAPPY HOURS COMPANY, Publisliers, 

No. 1 CUambors Street, New York* 



PARLOR AMDSEMENTS FOR THE YOUNG FOLKS. 



Designed for the use of Schools, Church Societies, Home Amusement, etc., etc. 
By G-. B. Bartlett. New edition. Revised and enlarj^ed. Every one of the 
entertainments contained in this worlc have been tried before large audiences iu 
liundreds of cities, under the personal supervision of the author, and they are now 
simplified and arranged for performance by old and young. 

CONTENTS. 



Hints on Tableaux. 
Scenes in the Life of Marie Stuart. 
Elaborate Tableaux. 
The Lily Maid of Astolat. 
Jarley "VVax "Works. 
The Babes in the "Wood, a Pantomime. 
The Magic Mirror, a "V'ision. 
The Miser's Supper, a Pantomime. 
Love in Ambush, a Pantomime. 
The Sleeping Beauty, a Pantomime. 
Aidd Robin Gray, an Illustrated Ballad. 
The Mistletoe Bough, an Illuslratcd 
Ballad. 



Neat Paper Covers. 
Bound in Cloth 



Price. 



Yilikens and His Dinah, an Illustra- 
ted Ballad. 

Charades (fifteen different ones). 

Games of Thought. 

The Mental Index. 

Declamation, with Selections. 

Social Amusements, or, Eull Directions 
for a Hall Entertainment and liow to 
I)repare it in any City or Village. 

Private Theatricals. 

List of Plays suitable for Private Per- 
formances. 



30 cts. 

75 cts. 

Parlor Tableaux ; or, Animated Pictures. 

Eor the use of Families, Schools and Public Exhibitions. By TON'T Dexier, 
author of " Tony Denier's Parlor Pantomimes," " Amateur's Guide," " Shadow 
Pantomimes," etc. Containing about eighty popular subjects, with plain and ex- 
plicit directions for arranging the stage, dressing-rooms, lights, fuU description of 
costumes, duties of stage manager, properties and scenery required, and all the 
necessary directions for getting them up. Among the contents there ai'e nine 
tableaux for male and an equal number {or female characters only. A great num- 
ber of them introduce groups of boys and many more groups of girls only ; otliers 
again introducing both ; and still more iu which entire classes can take part. 
Everything is stated in a plain, simple manner, so that it will be easily understood ; 
everything like style or unnecessary show has been avoided. For public or pri- 
vate entertainment, there is nothing which is so interesting and instructive as the 
tableau. Price /25ct8. 

Shadow Pantomimes ; or, Harlequin in the Shade. 

How to get them up and how to act in them ; with full and concise instruc- 
tions and numerous illustrations. Also, full and complete descriptions of proper- 
ties and costumes. 

CONTENTS. 



Introduction; Shadow Bluff, or, "Who's 
"W-ho ? Tooth Drawing Extraordinary ; 
Amputation like "Winking ; The Haunt- 
ed House; "We Won't Go Home till 
Morning; Jocko, or the Mischievotis 
Monkey ; The Madcap Barber ; Crib- 
baf^e. or. The Devil among the Cards; 
The Lover's Stratagem ; The Game of 



Base Ball; Regular Hash, er. The 
Boardlng-House Conspiracy: The Me- 
chanical Statue ; The African Serc- 
iiaders ; The Model Prize Fight ; The 
Magic Cask, or, The Industrious and 
Idle Apprentice; The Tragical Duel, 
or, The Comical Rivals ; Old Dame 
Trot and Her Comical Cat. 



It has been the aim of the author to provide harmless home amusement for old 
and young, excluding everything objectionable to sound morality and good home- 
training. By Tony Denier, Pantomimist, author of " Tony Denier's Parlor Pan- 
tomimes," " Parlor Tableaux," "Amateur's Guide," etc. Price. , ..,,., ^5 cts* 

Either of the above sent by mail, on receipt of the price, by , 

HAPPY HOURS COMPANY, Pablisliers, 

No. 1 C]iaml>ers Street, New York. 



DARKY PLAYS. 



A collection of Ethiopian Dramas, Farces, lutcrluclcs, Burlesque Operas, Ec- 
centricities. Extravaganzas, Comicalities, Whimsicalities, etc., etc. As played 
by the principal "burnt-cork" performers all over the Union. In Six JParts. 
16mo. Illuminated paper cover. 

CO]S"TEIiTS QF EACH PART. 



Paut l.—Deaf^In a Horn; 1 Scene. 
2 Male characters. — Desdemonum; 3 
Scenes. 6 Male, 1 Female character. — 
De Trouble Begiiis at Nine; 1 Scene. 2 
Male characters. — Challenge Dance; ] 
Scene. 3 Male characters. — Mishaps of 
C'cesar Crum; 3 Scenes. 3 Male, 2 Fe- 
male characters. — New Year's Calls; 5 
Scenes. 5 Male, 2 Female characters. — 
Nobody's Son; 1 Scene. 2 Male charac- 
ters. — Sciijio Africanus; 3 Scenes. 3 
Male, 1 Female character.— A'ccjics at 
Gurney's {Scenes in the Studio); 1 
Scene. 3 Male characters. — 16,000 
Tears Ago; 1 Scene. 3 Male characters. 
— Dancing Mad; 1 Scene. 6 Male, 1 
Female character. 

Paet II. — The Coopers; 1 Scene. 6 
Male, 1 Female cliaracter. — Jolly Mil- 
lers; 1 Scene. 3 Male, 1 Female char- 
acter. — Mischievous Nigger; 1 Scene. 

4 Male, 2 Female characters. — Shain 
Doctor; 3 Scenes. 4. Male, 2 Female char- 
ncters. — Virginia Mummy; 4 Scenes. 
C Male, 1 Female character. — Fighting 
for the Union; 3 Scenes. 4 Male, 2 Fe- 
male characters. — Dixie; 1 Scene. 3 
Male, 1 Female character. 

Part HI.— Ticket- Taker; 1 Scene. 5 
Male characters. — Uncle Jeff; 5 Scenes. 

5 Male, 2 Female characters. — Black 
Shoemaker; 1 Scene. 4 Male, 2 Female 
characters. — Rooms to Let; 1 Scene 2 
Male, 1 Female character. — Troublesome 
Servant; 1 Scene. 2 Male characters. 
—Oh, JIusli! 3 Scenes. 4 Male, 1 Fe- 
male character. — Quack Doctor; 1 Scene. 
4 Male, 1 Female character. — Darky 
Tragedian; 1 Scene. 2 Male charac- 
ters. 

Part TV.— Three Slack Smiths; 1 



Scene. 3 Male characters. — Great Ar- 
rival; 1 Scene. 3 Male characters. — 
Les Miser ables (Unhappy Pair); 1 
Scene. 3 Male characters. — Hop of 
Fashion; 2 Scenes. 5 Male, 2 Female 
characters.— 2Vie Wreck; 1 Scene. 4 
Male, 2 Female characters. — Dat Same 
Old Coon; 2 Scenes. 4 Male, 2 Female 
characters. — De Maid ob de Hunkpun- 
cas; 1 Scene. 2 Male characters. — Bones 
at a Ra-ffle; 2 Scenes. 3 Male charac- 
ters. — An Elephant on Ice; 1 Scene. 2 
Male characters. 

Paut V. — Maaic Penny; 3 Scenes. 6 
Male, 1 Female character. — Vilikens 
and Dinah; 1 Scene. 4 Male, 1 Female 
character. — Old Hunks; 1 Scene. 3 
Male ch&vnctQvs,.— Highest Price for Old 
Clothes; 1 Scene. 3 Male characters. — 
Stage-Struck Darky; 1 Scene. 2 Male, 

1 Female charactei*. — Black Crook Bur- 
lesque; 2 Scenes. 7 Male, 2 Female 
characters. — Turkeys in Season; 2 
Scenes. 3 Male characters. — Old Dad's 
Cabin; 1 Scene. 2 Male, 2 Female 
characters.— Att7i<j/ Chloe; 1 Scene. 1 
Male, 1 Female character. 

Part VI.— Bone Squash; 8 Scenes. 9 
Male, 3 Female characters. — The Black 
Statue; 1 Scene. 4 Male, 2 Female char- 
acters. — Mazeppa; 2 Scenes. 7 Male, 2 
Female characters. — Jack's the Lad; 
Scenes. "7 Male, 2 Female characters. — 
Feast; 1 Scene. 4 Male, 2 Female char- 
actors. — The Hypochondriac; 2 Scenes. 

2 Male characters. — The Actor and the 
Singe)'; 1 Scene. 4 Male characters. — 
Shylock; 3 Scenes. 5 Male, 2 Female 
characters. — Old Uncle Billy; 1 Scene. 
2 Male, 1 Female character. 



PRICE, EACH PART, 30 CENTS. 

Sent by mail, on receipt of the price, by 

HAPPY HOURS COMPANY, Publisliers, 

No. 1 Cbambers Street, New York. 



muvstrbLi gags 

en's Hand-BooK. 



Containing some of the "best jokes and repartees of the most celebrated " burnt 
cork " performers of our day. Bones- and Tambo in all sorts and manner of 
scrapes. Also, containing a rich collection of Ballads, humorous aud pathetic, 
Ethiopian Dialogues, Sketches, Plantation Scenes, Eccentric Doings, Humorous 
Lectures, Laughable Interludes, Huge Africanisms, Burlesque Speeches, Mirth- 
provoking "Witticisms, Conundrums, Tarns, Plantation Songs and Dances, etc., 
etc. In short, a complete Hand-Book of Burnt Cork Drollery, which will be 
found alike useful to the professional and amateur. 

co:n"te]^ts. 



A Bh'd that Can't be Plucked. 

Annihilating Time and Space. 

Beautiful Isle of the Tropical Sea. 

Bet, The. 

Big Fortune, A. 

Blackberrying. 

Bones and his Little Game, 

Bones and the Monkey Tricks. 

Bones as a Fortune T'eller. 

Bones as a Legitimate Actor. 

Bones as a Prize Fighter. 

Bones as a " Stugent in de Expensary." 

Bones as a "Walkist. 

Bones assists at the Performance of a 

New Piece. 
Bones Attends a Spiritual Seance. 
Bones gets Stuck. 
Bones in Love. 

Bones keeps a Boarding-Housc. 
Bones on G-eorge "Washington. 
Bones on the Light Fantastic. 
Bones Plays O'Fella. 
Bones sees a Ghost. 
Bones 'Slopes with Sukey Sly. 
Bones tells a "Fly " Story. 
Brudder Bones as an Inkslinger. 
Brudder Bones in a Kew Character. 
Brudder Bones' Love Scrape. 
Chestnut Tree, The. 
•'ColIud"BaU, The. 
Conundrums. 
Dancing Mad. 

Dat's What I'd Like to know. 
De Mudder of Inweution. 
Difference, The. 
" Far Away in Alabam'." 
Four-Elcveii-Forty-Four. 
Four Meetings, The. 



From de Poiks. 

Gal from Lackawanna, The. 

Girl at the Sewing Machine, The. 

" Go "Work for Your Libin'." 

Hannah Jane and Mo. 

How Bones Became a Minstrel. 

How Tambo look his Bitters. 

Impulsive Oration. 

Jeallusest of Her Sect. 

Legal Problem, A. 

Liberal Discount for Cash 

Manager in a Fix, The. 

Mathematics. 

Merry Life, A. 

Momentous Question. y 

Mosquitoes. 

Notes. 

Ob Course. 

Pomp and Ephy Green. 

Presidency on de Brain. 

Proposed Increase of Taxes. 

Kailroad Catastrophe. 

King, liing de Banjo. 

Eough on Tambo. 

School's In. 

Shakspeare with a Vengeance. 

Simple Sum in Arithmetic. 

Tambo's Traveling Agent. 

Tlie Pervisions, Josiai*. 

Thieves. 

Tonsorial. 

Toast, A. 

TJncle Eph's Lament. 

Waiting to See Him Oft. 

"Way Down in Georgia 'Fo' de Wa'. 

"Western Serenade. 

You Bet. 

Etc., Etc., Etc. 



PRICE 30 CEXT8. 
^eut by mail, on receipt of the price, by 

HAPPY HOURS COMPANY, Publishers, 

Ko. 1 Cliambers Street, Jiew York. 



SPBUGHIAIVA. 



An unrivaled collection of the most popular pieces of the clay, embracinjj 
Pathetic. Serious and Comic Speeches and Recitations, in prose' and poetry. 
Suitable for Anniversaries, Exhibitions, Social Gatherings and Evening Parties. 
It embraces French, Dutch, Irish. Yankee and Ethiopian Stories and Speeches. 
Tery many of the Speeches and Eecitatious contained in this volume vrill be found 
in no other work of the kind. 

CONTENTS. 



Buck Eanshaw's Funeral. 

Burial of Little XcU. 

The Cane-bottomed Chair. 

The Drummer Boy's Burial. 

The Dutchman's SchmaH Pox. 

Ginevra. 

The Goddess of Slang. 

Hope and Fear. 

Jim TTolf and the Cats. 

Katrina Xikes Me Poody "Well. 

Mark Twain's First Interview with 

Artemus Ward. 
Metamora to the Council. 
3fiss Maloney Goes to tlie Dentist. 
Miss Maloney on the Chinese Question. 
Mr. Coville's Easy Chair. 



The Kaughty Little Girl. 
The New Tear's Sleigli Pidc. 
Xorman Leslie's Address to Ihe Jury. 
Oh, Why should the Spirit of Mortal be 

Proud? 
Out of the Old House. 
The Professor of Signs. 
Recollections of My Chiistmas Tree. 
Schneider Sees Leah. 
Shamus O'Brien. 
Slieridan's Ride. 

Signor BiUsmithi's Dancing Academy. 
Tom O'Conner's Cat. 
Vat Ton Please. 
Widow Bedott to Elder Sniffles. 
Etc., Etc., Etc. 



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THE STUMP SPEAKER, 



Being a collection of Yankee, Dutch, French, Irish and Ethiopian Stump 
Speeches and Recitations, Burlesque Orations, Laughable Scenes, Humorous 
Lectures, Button-bursting Witticisms, Ridiculous Drolleries, Funny Stories, etc., 
etc* 

CONTENTS. 



Grotleib Klcbcyergoss on the War. 

Stick a pin de're, Brudder Horace. 

Paddy O' Toole's Log. 

Artemus Ward's Advice to Husbands. 

Burlesque Speech. 

Sergeant Buzfuz in the case of Bardell 

vs. Pickwick. 
De Milk in de Cocoanut. 
Courting in French Hollow. 
Or any Oder Man's Dog. 
Impufsive Nigger Oration. 
Crockett's Advice to Office-seekers. 
A Night's Adventure. 
Crystal Palace (A Nigger Lecture). • 
Political Stump Speech. 

PRaCE 15 CENTS. 

Either of the above will be sent by mail, on receipt of the price, by 
HAPPY HOURS COMPANY, Pablishers, 



Patriotic Nigger Speech. 

Sam Slick's Definition of a Sweetheart 

and a Wife. 
Man, A Nigger Analysis of Natui'al 

History. 
The Fmnchman and the Rats. 
Hans Schlackenlichter's Snake. 
Ze Moskeetare. 
Gotlieb Klcbcyergoss Again. 
A Puzzled Dutchman. 
A Dutch Cure. 

Burlesque Oration on Matrimony. 
Dat's So— an' more too. 
Etc., Etc., Etc. 



No. 1 Cliambers Street, Ne^v York. 



THEATRICALS AND ELOCUTION. 



The Actor's Art. 

Its Eequisites and hovr to obtain tliem, its Defects, and hovr to remove them. 
By Chaules AVilliam Smith, Professor of Elocution in the University of Oxford, 
anthor of "Clerical Elocution," '• Keadiug, Speaking and Action,"' " Common 
Blunders Made in Speaking and Writing," "Elocution Without a Master," etc., 
etc. Containing clear and full directions in every branch of the Art ; with com- 
plete and valuable instructions for beginners relative to rehearsals, entrances and 
exits, general hints on action, qualities of voice, etc., etc. In short, an indispen- 
sable book to the amateur. Price 15 cts. 

The Amateur's Guide to Home or Drawing-Spom Theatri- 
cals. 

How to get them up and how to act in them. Edited by To\r Dexier, author of 
"Denier's Parlor Pantomimes," " Shadow Pantomimes," "Parlor Tableaux," etc., 
etc. Containing full and complete instructions in every branch of the Dramatic 
Art. "We have given special attention to the selection of pieces for private repre- 
sentation, also giving practical advice as to Dressing, Making Up, Propcrtiea, 
Stage Illusions and Effects, Deportment, Speaking ancT Effective Acting. Selected 
Scenes for Amateiars, Stage Directions, Rehearsals, Scenery and Scene Paint- 
ing, Rules for Amateur Clubs, Theatrical Publicati(ms, a full list of American 
Theati'ical Ti'adesmen in every Brancli. The most complete book, in its variety 
of details, ever published. Kew American edition, corrected to date. 
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The Art of Public Speaking. 

An Exposition of the Principles of Oratory. By Samuel Keil, author of " Cul- 
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and principles of Public Speaking ; Ancient and Modern Eloquence; Parliamen- 
tary Eloquence ; Forensic Eloquence ; Eloquence of the Pulpit, etc., etc. Eor 
those who desire to become ready off-hand speakers, this book is invaluable — con- 
taining, as it does, clear directions how to arrange ideas quickly, and give them 
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and appropriate gesture. Price 35 cts. 

Elocution Without a Master. 

A Self-Instructor in the Art of Beading and Speaking well. A work for teach- 
ing not onlv the beginner, but for perfecting every one in this most desirable of 
all accomplishments. For youth this book is both interesting and valuable ; and 
for the adult, whether professionally or socially, it is one th^y cannot dispense 
with. The accompanying instructions are so plain, direct and forcible, that 
the least intelligent can easily understand all the rules and precepts of the glori- 
ous art that has immortalized Calhoun, Clay, Webster, Sumner, and a legion more 
of the bright lights of our country. Price!^ » 15 cts. 

Hand Book of Elocution and Oratory. 

Being a Systematic Compendium of the necessary Rules for attaining Proficien- 
cy in Reading and Speaking. With copious and interesting examples. 

This treatise on Elocution and Oratory has been prepared with a strict regard 
to practical utility, by a favorite tragedienne of the stage. By attention to its 
rides the learner may rapidly acquire the art of reading alone with due emphasis, 
and of expressing himself in a set speech or a recitation with propriety. Though 
chiefly designed for social purposes, it will also prove a safe guide for those wlio 
wish to establish a well founded professional reputation, cither as readers, speak- 
ers or actors. 

C O X T E 5sT T S . 
Preliminary Remarks on the Leading Principles of Elocution. Family Reading. 
Table Oratory. Wedding Breakfast Speeches. Public Reading. After Dinner 
Speeches. Funeral Orations. Verse. The Bar.* The Pulpit. The Stage. 
Parliamentary. The Lecture Desk. The Platform. Conclusion. 

Price .^ 30 cts. 

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